Post by Karl Bryullov. Photo and biography of Karl Bryullov
Biography, paintings of the artist, life, creativity and great love. It is impossible to tell everything in a few words and pictures. Moreover, both the creativity and the life of an artist, like any person, cannot be described in a few words.
Karl Bryullov. Biography
Karl Pavlovich Bryullov was born in 1799, on December 23 in the capital of the Russian Empire - St. Petersburg. His father was a fairly well-known decorative artist and woodcarver in the capital.
At the age of 10, Karl was accepted into the Academy class historical painting. His teachers were famous master painters: Ivanov A.I., Shebuev V.K., Egorov A.E. Young artist From the very first days of his studies, he showed his talent and his teachers expected extraordinary and talented work from him.
While still a student at the Academy, Bryullov created a number of complex compositions that attracted the attention of the public and specialists.
For example, in his “Narcissus” one can see desire young author to combine the classicism that was dominant at that time and the living natural “ordinariness” of nature. Romanticism is just coming into fashion and the reflection of the human world and his feelings is completely new to the public.
Narcissus admiring his reflection
The artist's brother, the architect Alexander, went to Italy in 1822. The “Society for the Encouragement of Artists” thus rewards the young architect. And Karl decides to go to Italy with his brother. He had no idea that he would return to Russia only after 14 years.
Italy simply amazes the young artist and gives great amount themes for painting. In 1823 - the famous “Italian Morning” that amazed St. Petersburg.
Italian morning
In 1824 - “Erminia with the Shepherds”, 1827 - “ Italian noon" Bryullov studies genre motifs, searches for the necessary nature and, most importantly, tries to find a completely new “language” for his painting.
His paintings glorify the beauty of man and the beauty of the surrounding world. The artist wants to show the joy of life. He transfers this new vision to his portraiture. I will not list all the artist’s works in this genre (I will talk about some of them in more detail below), but remember “The Horsewoman”... This is a portrait, but a portrait, for its time, completely unusual. There is lightness and fire in it, hidden joy and triumph of living human flesh, and the bridled rage of a horse, and the tenderness of beautiful ladies.
There are no shadows or sorrow in the artist’s works of that period.
In 1835 he visited Greece and Turkey. As a result of this trip, a whole series of watercolors saw the light: “Temple of Apollo Epicurean”, “Delphic Valley” and others. Incredible colors and subjects delight art lovers.
The artist studies the works of old Italian masters, architecture and history. And the result is “The Last Day of Pompeii.” Experts call this work the most significant in the artist’s work. Karl Bryullov began work on the painting back in 1830 and painted it for three years).
In 1836, the artist returned to his homeland and received a professorship at the Academy of Arts. The St. Petersburg period of the artist’s work is mostly portraits. Noble men and beautiful ladies. The artist strives to show not only the natural beauty of a person, but also his inner world, experiences and joys, passions and inner nobility that exists in everyone (as the artist believed).
In 1839, the artist began working on the painting “The Siege of Pskov Polish king Stefan Batory in 1581." This work exhausts the artist. The theme doesn’t come at all; St. Petersburg is gloomy and damp. During the same period, the artist began to paint the dome of St. Isaac's Cathedral. The artist became seriously ill. He was unable to complete the painting and painting of the cathedral. The illness turned out to be very serious indeed and put the artist to bed for seven long months.
In 1849, Bryullov went abroad for treatment.
In Italy he feels much better and begins to work again: drawings, a series of watercolors and portraits.
Shortly before his death he said:
“I didn’t do half of what I could and should have done.”
And now - Karl Bryullov and his paintings
Bakhchisarai fountain (1838-1849)
Bakhchisarai fountain
Karl Bryullov knew Pushkin. They met often. After the death of the poet, Bryullov expressed a desire to participate in the publication of the collected works of the great poet, and drew sketches of the frontispiece.
During the same period, Bryullov began work on the painting “Bakhchisarai Fountain”. The artist completed a huge number of sketches in order to find future composition paintings, studied the positions of the characters’ bodies, and the clothes of oriental women. Bryullov wanted to show not the drama of Zarema and Maria’s feelings, but the romantic side of the life of an eastern harem. Sleepy laziness, languid monotony and the serenity of the lives of beauties. As in Pushkin's lines:
...Blithely waiting for the Khan
Around a playful fountain
On silk carpets
They sat in a crowd of frolics
And with childish joy they looked,
Like a fish in the clear depths
I walked on the marble bottom...
Italian Afternoon (1827)
Italian noon
This painting was painted by Karl Bryullov at the request of the St. Petersburg Society for the Encouragement of Artists. This happened after huge success"Italian morning."
And Karl wrote.
The heroine of the picture does not differ in antique proportions and does not at all resemble ancient statue. Bryullov shows the beauty of a real Italian woman.
And this simple Italian woman outraged the Society. The Chairman of the Society reminded the artist that the purpose of art is the graceful depiction of nature. And the lady in Bryullov’s canvas has “more pleasant than graceful proportions.”
However, Bryullov insisted on his right to show real, and not conventional, beauty.
In order to get a real play of light and shadows, the artist painted a picture in a real vineyard.
Agree that the picture is simply and incredibly beautiful.
Portrait of Yu.P. Samoilova leaving the ball with adopted daughter Amazilia Paccini (1839)
Portrait of Yu.P. Samoilova leaving the ball with her adopted daughter Amazilia Paccini
Countess Yulia Pavlovna Samoilova is a special woman in Bryullov’s life. I want to make a separate post about the story of their love and friendship. Star woman socialite and “your slave.” Beauty with bad character, willful, loving and submissive. Truly an incredible woman.
In 1939, Samoilova came to St. Petersburg due to the fact that it was necessary to dispose of the huge inheritance left from her grandfather Count Litt. It was during this period that Bryullov began this portrait. The artist said that he wanted to show the masquerade of life. There, behind Samoilova, behind the red curtain, it thunders royal ball and flows like a fountain Savor. And in front of us is just a woman, in a royal outfit, but without a mask. She took off the mask that is needed for a world of lies, where everyone strives to isolate themselves from people and pretend to be someone they really are not.
And the main theme of the picture is the triumph and beauty of a strong and independent personality.
Horsewoman (1832)
Rider
In this famous painting The pupils of Countess Samoilova are depicted. On the left is the younger Amacia, and on the horse is the older Giovannina.
The artist loved Samoilova, and the girls were a part of the world that surrounded the countess. And Bryullov, loving the countess, could not help but love girls.
According to the artist’s plan, “Horsewoman” is large portrait to decorate the main hall in Samoilova's palace. The Countess commissioned the portrait. She said more than once that she wanted to cover all the walls with “his miracles.”
The artist shows his ideal world. And in this world life is beautiful. Here is the charm of childhood and the pride of youth. We see all this on the faces of the little heroines. The artist put so many feelings and emotions into this work that an everyday everyday scene appeared before the audience transformed, full of poetry and an extravaganza of colors.
Turkish woman (1837-1839)
Turk
Returning to gloomy and rainy St. Petersburg, the artist often turns to memories of his travels around the Mediterranean.
Memories and fantasies. The artist’s album contains a lot of sketches depicting women in outlandish oriental outfits. We can say that he was worried about the theme of the “Turkish woman” - an exotic and mysterious woman.
The ladies of society in the paintings of Karl Bryullov are dressed in “semi-oriental” outfits. There are quite a lot watercolor works, in the artist’s albums, which show the features of the artist’s contemporaries.
And the artist painted this Turkish woman from a model. The fact is that in addition to “Turkish Woman” there is also “Odalisque”. And the main character of both films is the same lady.
Bryullov very carefully painted the face of his Turkish woman, which is decorated with a bright, huge Turkish turban.
Experts say that “Turkish Woman” is a particularly feminine and life-like work by the artist. I have no desire to disassemble the picture into atoms. Karl Bryullov is a master. And his “Turkish Woman” is simply lovely. Without any ifs and highly artistic assessments.
Karl Bryullov Happy and Unhappy Love
A woman-muse, a woman-love, a woman-friend, and a woman who finally broke the artist’s heart. She smashed him so hard that he died. And this is all about her - about Countess Yulia Pavlovna Samoilova.
Before I talk about how we met, how we fell in love and how we parted, I will tell you how this extraordinary woman lived before she met Karl Bryullov.
Yulia Samoilova
Contemporaries noted that Countess Samoilova was a brilliant and daring lady, well versed in literature and music, and was educated and freedom-loving. She lived not with her mind, but with her passionate heart. And my heart was very restless.
Envious tongues hinted that all her independence and audacity came from the countless riches that her ancestors left her as maternal line, and on the father's side. Indeed, the nee Countess von der Palen was fabulously rich. The heiress of Russian and Italian aristocrats: the Skavronskys (Catherine the First - the wife of Great Peter), Palena, Litta and Visconti (these are the same ones who were relatives of Francesco Sforza, the patron of Leonardo la Vinci).
And they also said that Count Litta, chief chamberlain and chief master of ceremonies of the imperial court, left his untold fortune to Julius because she was not his granddaughter, but his daughter. When the girl was five years old, her mother went to Paris to study art, and left the girl in the care of the count.
The little countess grew up impudent and headstrong, and was distinguished by phenomenal rebellion. But, if she loved someone, then with this person she turned into a little angel. Governesses and nannies simply adored the small and graceful girl, who looked like a beautiful kitten.
Yulenka loved to wander through the endless halls of the count's palace. With her fragile fingers she touched priceless works of art. And very early I began to understand what real art was. And if I didn’t understand something, I went to the huge library. And great minds, with book pages, talked with her about life and art.
This is how the future Countess Samoilova was formed, an independent, educated woman, with her own outlook on life and her own personal opinion.
Rider
She never followed fashion. For what? She herself was a fashionista and a role model. A beauty with a proud posture, smart and relaxed. How she conquered men's hearts?! And how carried away I was!
When she turned 25 (this happened in 1825), she suddenly got married. Her chosen one is not an ordinary person at all. He is rich, famous, handsome and young, witty and cheerful, a friend of Pushkin and a regular at social events - the Emperor's adjutant, Colonel Samoilov Nikolai Alexandrovich.
But the happiness of the young people did not last long. Nikolai was known as an avid duelist and gambler, loved wine and noisy companies. And he never loved his wife Julia. This marriage was arranged by Nikolai's mother, who simply dreamed of marrying her son to such a bride as the young Countess Palen. Colonel Samoilov loved a completely different woman. He loved passionately and tenderly.
The divorce was quick and quiet. In 1827, the “handsome Apkviviad” (that was Samoilov’s name in society) took the countess to her father and returned her dowry (or rather, what was left of him) ex-wife. They stopped being spouses, but remained friends. Society did not understand such relationships: the world lived on rumors and generated rumors. They were reconciled and quarreled, married again and divorced. And they were just friends. In the end, Count Samoilov left for the active army. Colleagues, then, spoke of his cold courage and contempt for death.
And Countess Samoilova? She is free and her audacity simply has no boundaries. The light of St. Petersburg strives not to Tsarskoe Selo, but to Grafskaya Slavyanka - the summer estate of the young Countess Samoilova. The Emperor is furious. He cannot get guests to visit him - they prefer to visit the countess. And the Emperor asks to sell him a popular estate. He asks in such a way that even the wayward Samoilova does not dare refuse.
But, finally, she turns to the imperial dignitary:
Tell the emperor that you didn’t go to Grafskaya Slavyanka, but to Countess Samoilova, and they will continue to go to her, no matter where she is!
The impudent countess not only said, but also did... Very little time passed and the light of St. Petersburg began to gather not in Grafskaya Slavyanka, but in the beautiful palace on Elagin Island. Needless to say, the owner of the palace was the magnificent Samoilova.
She was a star secular society not only in Russia, but also in Italy. Aristocrats and diplomats, poets and composers, artists and writers gathered in her Italian palace. Rossini, Verdi, Bellini and Pacini. They are regulars at the original Countess Samoilova's.
Wine and money flow like a river, passions rage and little love tragedies happen. The novels have no end and count. But she only brings suffering to men and suffers herself. She lives brightly and passionately, but there is no happiness in her life.
Bryullov and Samoilova. First meeting
The year was 1828. Naples looked with fear at the awakened Vesuvius... The year was difficult for Karl Bryullov. Adelaide Desmoulins fell passionately in love with him. She loved, but he was cold. She was jealous and, out of stupid jealousy, threw herself into the Tiber. The world accused Bryullov of cruel indifference. He made excuses, but no one believed him.
Bryullov was invited to dinner with Prince Gagarin. And when the dinner was coming to an end, the doors of the hall suddenly opened and she appeared on the threshold... A proud, stately beauty, a dream and the very embodiment of beauty. The audience gasped, and the prince warned Bryullov:
Fear her, Karl! This woman is not like the others. She changes not only her loyalties, but also the palaces in which she lives. Having no children of her own, she declares strangers to be her own. But I agree, and you will agree, that she can drive you crazy...
They exchanged just a few words. And then Prince Gagarin, trying to protect Bryullov from gossip and remorse, took the artist to his estate with beautiful name Grotta Ferrata. Karl painted and read a lot. Life flowed quietly and serenely. But, one evening, this rural silence simply exploded - Yulia Pavlovna appeared on the threshold of the house.
Let's go! - she declared decisively. “Maybe the roar of Vesuvius, ready to bury this unbearable world, will save you from melancholy and remorse... Let's go to Naples!”
Then, many years later, she recalled that “this” happened at the very first moment of their meeting. Nothing had happened yet, but she already knew that she was “bewitched” to him forever.
He is a poor artist, and she is a socialite who does not know the count of her treasures, the owner of beautiful palaces in Italy and Russia, a patron of the arts, an aristocrat of the highest standard.
She's smart and bossy, but she loves him.
- So be it, I agree to be humiliated by you.
- You? - Bryullov was surprised.
- Certainly! If I consider myself an equal to the emperor, then why don’t you, my dear Brishka (that’s what she called him), make me your slave, forever conquered by your talent? After all, talent is also a title that elevates the artist not only above the aristocracy, but even above the power of crowned despots...
He painted portraits from her. And he always said that these portraits are not finished. Yulia Pavlovna did not like to pose - she was always in a hurry. Well, she couldn't sit still for long. Impetuous, passionate, cheerful, full of life. She loved him and loved his work. But she didn’t like to pose.
Portraits of Samoilova, painted by Bryullov, delighted the public. Karl began to be compared with great artists: Van Dyck and Rubens. And then the inevitable happened - “The Last Day of Pompeii” struck. The painting amazed the admiring audience and glorified the artist. Immediately and forever!
The last day of Pompeii
Orders rained down on him like from a cornucopia, the aristocrats considered it an honor to have the “great Bryullov” as a guest, and any of his work became priceless. He was simply pestered with orders and declarations of love.
Princess Dolgorukaya wrote that Karl Bryullov simply infuriates her... She begs him for a date, tries to sneak into his workshop, knocks on his door, tries to catch him at Prince Gagarin's. And he... slips away. Cruel and reckless.
The Marquise Visconti, a lady not only noble, but also very influential, is offended by him. She calls the guests, and she is waiting for Bryullov. He comes. But he remains in the hallway of her palace - he is struck by the beauty of the doorman's daughter. Karl admired the beauty of the girl and... left. The Marquise is furious.
His desired woman is Samoilova. He is ready to draw it always and everywhere. In the famous painting “The Last Day of Pompeii” his beloved is depicted three times.
After the Countess took Charles to Naples, they for a long time didn't break up. They were captured by a great and passionate feeling.
She wrote to him:
My friend, Brishka! I love you more than I can explain, I hug you and will be spiritually committed to you until the grave.
She passionately wanted to unite her fate with the fate of Karl Bryullov. And he loved her. What stopped them? She was his only one true love. Love for life. But, strange love.
The world constantly gossiped about the novels of the flighty Samoilova. But Karl was not faithful to her either. They were together, but somehow everything worked out so that their love allowed love pranks on the side. It was as if they were testing their feelings to the limit.
They confided their secrets to each other (including the secrets of love affairs), avoided “vulgar jealousy,” and protected personal freedom. Perhaps many years later, each of them realized that love is more than personal unlimited freedom. And love and frivolity do not coexist under the same roof.
Portrait of Countess Yu. P. Samoilova with her pupil Giovanina Pacini and a little black boy
She is the “Italian sun” (as the artist called Julia) - bright, blinding, flooding everything around with light and passion, energetic and restless. And he is calm and even melancholic. Her passions and feelings boil and incinerate everything and everyone around her. It's all inside him. And his soul burns. He was extremely tired.
One day, while in the house of the artist Sauerweid, he met, quite by accident, the daughter of the Riga burgomaster Emilia Tim. She is so young and tender, like the first one spring Flower, modest and quiet. And how different she is from the ever-changeable, restless and passionate Julia. Maybe she will be the one who can heal his soul from this fatal passion for Julia?
Emilia played the piano for him and sang. And he dreamed of a quiet and peaceful family life. Young creature blushed violently from indiscreet jokes and embodied innocence itself.
Emilia Tim
He painted her portrait, and he almost believed in happiness. The wedding took place in 1839. Subsequently, Taras Shevchenko (he was at that wedding) recalled that Bryullov was gloomy and unhappy, stood with his head bowed low and did not look at his bride. It seemed that Karl was repenting and suffering greatly.
And a month and a half later, ominous rumors spread throughout St. Petersburg. They said that the enraged Karl tore the earrings, along with the lobes, out of his young wife’s ears and kicked his barefoot wife out into the street. He also had a fight with the bride’s father and hit him on the head with a bottle.
Bryullov refused to comment on the obvious fact (Emilia really left). But Bryullov himself left his home. He hid from terrible shame in the house of the sculptor Klodt.
The ex-wife and her father demanded money from the artist, rumors multiplied so much that the Emperor demanded an explanation from Bryullov. Karl was invited to Count Beckendorf to explain the reasons for the divorce. And then it turned out that his innocent and gentle Emilia was the mistress... of her father. Moreover, this relationship continued after her marriage. And she also demanded lifelong maintenance from the artist.
A great artist - he was disgraced and destroyed.
To Bryullov’s great happiness, Count Litta died in St. Petersburg at this time, and Yulia Pavlovna appeared in the northern capital. Having learned about the misfortune that befell Bryullov, she hurried to her Karl’s house. She did not come. She burst in like a crazy comet: she drove away the cook, slapped the drunken footman in the face, and escorted all the guests who were expecting free drinks and new rumors from the reception room.
She, once again, turned his house and his life upside down.
Bryullov writes again. And paints her portraits. It was during that period that this picture appeared.
Portrait of Countess Yulia Pavlovna Samoilova leaving the ball with her adopted daughter Amazilia Paccini (Masquerade)
There is more and more coldness and loneliness in his works. He is great, he is famous and he is unhappy. He only loves her. But she lacks passion and fire. Julia blames cold Russia for this and they leave for Italy. In Italy, Karl works a lot and... yearns for St. Petersburg. It seems to him that Julia no longer loves him.
This happened in 1845. Julia suddenly decided to get married and end her relationship with Bryullov. While at the opera, she invited tenor Perry to her carriage and announced to him that she had decided to become his wife. Stupid Perry was flattered by the Countess's countless riches and agreed. He dreamed of outliving Samoilova and taking possession of her fortune. But, young and full of energy, Perry could not stand her passion and the frantic pace of life. Very soon Samoilova became a widow.
Then she left for Italy. He tried to find traces of her, but in vain. There is information that they met on the eve of his death. But their conversation did not work out. What could he tell her if he was leaving this world, and she was destined to remain.
Soon Karl Bryullov died.
And she went to Paris. And she continued to squander her wealth and health. She married a French count. And she divorced him the day after the wedding.
Her wealth has dried up. There was no health either. Deep loneliness came.
For a long time she kept portraits of her “beloved Brishka.” This is all that she has left of that great and strange love.
She outlived Karl Bryullov by 23 years.
Surely paintings Karl Pavlovich Bryullov known to everyone from school. “The Last Day of Pompeii”, “Italian Afternoon” and other paintings are imbued with real emotions, feelings, and expression. Unlike many other artists, Bryullov chose his models not among fragile, pampered models. His heroines were girls from real life with all their advantages and disadvantages. Not all contemporaries immediately agreed with the author’s innovation, but over time, Bryullov received worldwide recognition, and he himself began to be called “Charlemagne.”
Karl Bryullov was born in 1799. As a child, he was a very sick boy and did not get out of bed for several years. But this fact did not stop his father, Pavel Brullo, who decided to teach his son painting. Every day the child was given tasks: to draw animals, people or natural motifs. And while Karl did not cope with the task, he did not receive breakfast.
At the age of 10, Karl Brullo was enrolled in the St. Petersburg Academy of Arts, where he studied for 12 years. The boy brilliantly coped with any task assigned to him, and for this in 1822 he received a pensioner scholarship for four years, which included studying in Italy. Before leaving, Karl received permission from the emperor to add the letter “v” to his last name so that everyone would understand where the artist came from.
Italy captivated the young artist. In 1827, the artist painted the painting “Italian Afternoon”, for which the model was a pretty, plump Italian woman. In Russia, this picture was received very coldly, because it did not correspond to the fashion trends of that time. Critics called the model “disproportionate,” and Bryullov left the Imperial Society for the Encouragement of the Arts with a scandal.
In 1827, in Italy, Karl Bryullov met Countess Yulia Pavlovna Samoilova. The artist was captivated by the incredible Mediterranean beauty, intelligence and grace of this woman. The Countess often became a model for Bryullov's paintings. In the painting “Portrait of Countess Yu. P. Samoilova leaving the ball with her pupil Amalia Pacini,” the incredible colors and splendor of the outfits only emphasized the beauty of his muse.
In 1830, Karl Bryullov, together with Countess Samoilova, went to the ruins of Pompeii and Herculaneum. Two years before this, another eruption of Vesuvius occurred, so it was fashionable to be interested in architecture then.
Bryullov began work on the painting that made him world famous at the request of philanthropist Anatoly Demidov. Before starting to paint the canvas, the artist studied a lot historical documents about Pompeii and made many sketches from the scene.
Karl Bryullov painted the people in the painting as emotionally as possible. He captured himself there as an artist running with drawing supplies. Yulia Samoilova can also be found on the canvas. She is presented there in three images: a woman with a jug on her head, a mother trying to protect her daughters and dying on the pavement.
In Rome, “The Last Day of Pompeii” received the most flattering criticism, after which the painting was sent to the Louvre in Paris. In 1834 the painting reached St. Petersburg, where it created a real stir. Emperor Nicholas I himself wished to see the painting, after which he awarded Karl Bryullov the award.
No less iconic painting by the painter was “Bathsheba”. Before Bryullov, Russian artists practically did not turn to the nude. Bryullov, inspired by the success of “ Last day Pompeii”, decided to paint a picture in a new genre. He took as a basis the biblical story of Bathsheba, whom King David saw bathing.
The master worked on the painting for several years. Critics called it "voluptuous and brilliant in color." The artist realized that he could not convey his plans to the audience, and once even threw his boot at the painting. Bryullov did not finish the painting; the beauty’s brushes remained unpainted. It was in this form that the patron purchased “Bathsheba” and sent it to the Tretyakov Gallery.
The painting raises many questions among art critics. Researchers are still arguing about who is really depicted on it.
11.12.2016 18:03
Karl Pavlovich Bryullov - famous painter, draftsman, watercolorist who lived in the first half of the 19th century. His creativity brought a freshness of vitality, romance, and passion for the beauty of the surrounding world into the painting of contemporary academic classicism. His work “The Last Day of Pompeii” brought world fame to this artist. Our article presents the biography of Karl Bryullov. Briefly talking about this artist is not enough. Of course, Karl Pavlovich deserves detailed consideration his life and work. This is what the biography of Karl Bryullov presented below is dedicated to.
Origin and childhood of the artist
Bryullov Karl Pavlovich was born in St. Petersburg on December 23, 1799. His father, Pavel Ivanovich, is an academician of ornamental sculpture. In this regard, it is not surprising that all seven children in the family had artistic ability. Moreover, five sons - Ivan, Pavel, Alexander, Fedor and Karl - became artists. The greatest glory, however, fell to the latter. As a child, Karl was sickly. The biography of Karl Bryullov is noted by the fact that for seven years he almost did not get out of bed. Karl Pavlovich suffered from scrofula. The boy showed great talent for painting very early. Pavel Ivanovich worked with his son since childhood. As a teacher he was very strict. Karl's father could even leave his sick son without breakfast just because he did not complete a drawing assignment.
Study at the Academy of Arts, first works
When Karl was 10 years old, he was admitted to the St. Petersburg Academy of Arts. From the very beginning of his studies, the boy stood out among his peers for the serious training he received under the guidance of his father, as well as for his brilliant talent. Karl Pavlovich passionately loved to draw. For this purpose, he sometimes even imitated attacks of scrofula, went to the infirmary and painted portraits of friends there.
The boy’s teachers at the Academy were A. Egorov, A. Ivanov, V. Shebuev and others. The work “Narcissus Looking into the Water” became his first recognized work. Its plot is based on - greek myth about a handsome young man who was captured own reflection in water. In 1819, for this work Bryullov was awarded a gold medal of the second degree. And two years later, for a painting called “The Appearance of Three Angels to Abraham,” he was awarded a Big Gold Medal.
Life with brother
Karl Pavlovich in 1819 settled with his brother Alexander in the workshop. His brother was Montferrand's assistant on the construction of the famous St. Isaac's Cathedral. Bryullov at this time earned his living by creating custom portraits. Among his customers were people who later joined the Council of the Society for the Encouragement of Artists. Karl Pavlovich, at their request, created “The Repentance of Polyneices” and “Oedipus and Antigone”. For this, he was given the opportunity to take a four-year retirement trip to Italy with his brother.
Trip to Rome, works of the Italian period
The biography of Karl Bryullov continues with the fact that he and Alexander went to Rome in 1822. Here the brothers studied the art of masters dating back to the Renaissance. Karl Pavlovich devoted a lot of time to studying, however, his social life was quite eventful. During the time spent in Italy, the artist wrote many different works. In the works "Italian Afternoon" (pictured above) and "Italian Morning", which were created for the report of the Society for the Encouragement of Artists that sent him abroad, the author turned to everyday scenes of grape picking and morning washing, rather than to mythological or historical subjects. The painting “Italian Morning” was appreciated by Nicholas I himself. He presented this work to the Empress.
Karl Bryullov in Italian period focused his creativity on portrait painting. Among his works, it is worth noting the portrait of Countess Y. Samoilova with a small arap, created around 1832, in 1828 - the musician M. Vielgorsky, in 1832 - Giovanni Paccini (the famous "Horsewoman", in the photo above), as well as a self-portrait, painted about In 1834, the biography of Karl Bryullov was noted. Interesting Facts about the artist and his outstanding works are numerous, as you will see if you read this article to the end.
Return to Russia
Returning to Russia, the artist created several works in Moscow that were more intimate in nature. Among them are portraits of A. Tolstoy, A. Pogorelsky, as well as I. Vitali at work. Somewhat later, while already living in St. Petersburg, Karl Pavlovich created portraits of I. Krylov (in 1841) and V. Zhukovsky (in 1838). It is noteworthy that last job he performed it specifically for the lottery, which was organized to raise funds for the ransom of T. G. Shevchenko from serfdom.
Meeting with Yu.P. Samoilova, new trip to Italy
At one of the receptions held in 1827, the artist met Yulia Pavlovna Samoilova. This countess became love for Karl Pavlovich, closest friend and artistic ideal. Together with her, the artist went to Italy to the ruins of the cities of Herculaneum and Pompeii, which died in 79 AD. e. due to a volcanic eruption. Bryullov, inspired by the description of this tragedy by the Roman author Pliny the Younger, who was an eyewitness to it, realized that this event would become the theme of his next work. The artist spent three years collecting material at excavations and in archaeological museums. He strove to ensure that every item presented on his canvas corresponded to that era.
"The last day of Pompeii"
Work continued on the painting entitled “The Last Day of Pompeii” for six years. In the process of its creation, the author made many sketches, sketches and sketches, and also changed the composition several times. When the painting was presented to the public (this happened in 1833), it caused a real explosion of delight. Before this, none of the works belonging to the Russian school of painting had been awarded such great European fame. At exhibitions in Paris and Milan in 1834, her success was amazing. Bryullov in Italy became an honorary member of several art academies, and in the French capital he was awarded a Gold Medal.
How can one explain such a success of this film? Not only with a successful plot, which corresponded to the romantic consciousness of representatives of that distant era, but also with the way the author divided the crowd of dying people into local groups. Each of these groups illustrates a certain affect - greed, despair, self-sacrifice, love. The force of the elements, which is presented in the picture, indiscriminately destroys everything around and breaks into the harmony of existence. Among the artist’s contemporaries, it evoked thoughts of unfulfilled hopes and a crisis of illusions. This painting brought its creator worldwide fame. Anatoly Demidov, the customer of the painting, gave it to Nicholas I.
The expedition and its fruits
It was difficult for Bryullov to create something superior to this canvas. After writing it he fell into creative crisis. Karl Pavlovich began several works at the same time, but did not finish any of them. In May 1835, the artist went on the expedition of V.P. Orlov-Davydov, which was heading to Turkey and Greece. He traveled from Athens to Constantinople on the brig Themistocles. The commander of this ship was V. A. Kornilov. His portrait, created in 1835 (pictured above), is one of best watercolors, which mark the biography of Karl Bryullov. His work, inspired by the expedition, was subsequently replenished with a whole series of watercolors, paintings and graphic drawings. Among them, noteworthy are the 1835 works “The Wounded Greek” and “A Turk Mounting a Horse”; "Turkish Woman" (pictured below), created between 1837 and 1839; paintings from 1849 “Bakhchisarai Fountain”, “Sweet Waters in Constantinople” and “Harbor in Constantinople”.
Gala reception in Odessa
Bryullov was forced to return to Russia in the fall of 1835 by order of the Tsar. The first of the Russian cities where he arrived was Odessa. Residents of the city gave the artist a gala reception. M. S. Vorontsov, Governor-General of Odessa, began to work to ensure that his period of stay in this city was extended. However, the artist himself did not want to linger in these parts.
How Bryullov defended his independence
On December 25, Bryullov arrived in Moscow. Acquaintance with A.S. Pushkin became important event his biography. After his arrival in St. Petersburg, the sovereign demanded that Karl Pavlovich paint portraits of members of the imperial family. However, he always found reasons not to complete the work. The courtiers were amazed at the audacity with which the artist treated high-ranking officials. Bryullov defended creative independence, he managed to force everyone to respect him.
Teaching activities and new works
Karl Bryullov, whose biography and work were known to many by that time, in 1836 began working at the St. Petersburg Academy of Arts as a professor, where he taught young artists. He created an entire “Bryullov school”, which included his followers. Many famous masters, such as T. Shevchenko, P. Fedotov and others, grew up under the influence of Karl Pavlovich. The period of work at the Academy also included the creation of about 80 new portraits. Among the most famous works of Bryullov of the 30s are portraits of V. A. Perovsky, the Shishmarev sisters (pictured above), Kukolnikov, singer A. Ya. Petrova. In addition, Bryulov participated in the painting of St. Isaac's Cathedral.
Events in the artist's personal life
It should be noted that in the second half of the 1830s, Karl Pavlovich Bryullov was very lonely in his personal life. His biography is marked by feelings for a woman named Yulia Samoilova, about whom we have already talked. However, she was abroad at the time. Karl Pavlovich, at the age of forty, met Emilia Timm, a gifted pianist. The father of this girl was the burgomaster of Riga. Emilia, it must be said, had a difficult past. She honestly confessed to the artist about her relationship with her own father. However, pity and love blinded the artist. He hoped that feelings would overcome everything. This is how the biography of Karl Bryullov was marked by his wedding with Emilia. His personal life, however, turned out to be difficult. 2 months later, having survived the claims of his chosen one’s father and a public scandal, he broke up with Emilia. Countess Samoilova soon returned to Russia. In 1841, the artist created her ceremonial portrait.
last years of life
In 1847, rheumatism, a severe cold and a bad heart confined the painter to bed for 7 years. However, even during this time he continued to work. His “Self-Portrait” dating back to 1848 (presented at the beginning of the article) is noteworthy.
On the advice of doctors, in April 1849, Bryullov left Russia forever. However, treatment on the island. Madeira did not bring him any relief. The artist created several portraits. The most famous among them is the image of M. Lanci, dating back to 1851. Nevertheless, Karl Pavlovich did not receive satisfaction from his work. The following spring he moved to Marciano near Rome. The biography of Karl Bryullov ends on June 23, 1852. It was then that the artist died. His studio was filled with sketches depicting scenes from Italian folk life.
Karl Bryullov, short biography which we have outlined, is one of the greatest Russian artists. His works are known not only in our country, but throughout the world. Now you know what is remarkable about the biography of such an artist as Bryullov Karl Pavlovich. His life story, you see, is very interesting.
Karl Bryullov is a famous artist whose name has become synonymous with the movements of classicism and late Russian romanticism in painting. The talent cultivated in Bryullov since childhood gave the world such unique works, like “The Horsewoman”, “The Head of Bacchus”, “The Death of Inessa de Castro”, “Bathsheba”, “Fortune-telling Svetlana”. And his painting “The Last Day of Pompeii” still delights true art connoisseurs around the world.
Childhood and youth
The future artist was born on December 23, 1799 in St. Petersburg. The Bryullov family had many children: Karl grew up surrounded by three brothers and two sisters. The father of the family had impeccable artistic taste: he was engaged in ornamental sculpture, carved wood, masterfully painted miniatures and taught at the Academy of Arts. It is not surprising that the children adopted from him a craving for creativity and a sense of beauty.
Karl grew up as a sickly boy and was forced to spend a lot of time in bed. However, despite this, he diligently delved into the subtleties of the art of painting, intensively studying with his father. He also did not allow any leniency and even sometimes deprived his son of breakfast for lack of diligence.
Such strict discipline, coupled with an innate gift, could not fail to produce results, and already at the age of 10, Karl Bryullov easily entered the St. Petersburg Academy of Arts, delighting the teachers with his thorough preparation and unconditional talent.
The artist’s first serious work was the painting “Narcissus looking into the water.” In this work, Karl Bryullov played on the myth of a young man named Narcissus, who constantly admired his own beauty. In 1819, the painting brought the artist his first award - a small gold medal from the Academy of Arts. This moment is considered to be the beginning of a serious creative biography of Karl Bryullov.
Painting
In 1821, Karl Pavlovich completed work on another masterpiece - the painting “The Appearance of Three Angels to Abraham at the Oak of Mamre.” This time the Academy of Arts turned out to be more favorable to to a young artist, celebrating the new creation with a large gold medal, as well as the right to travel to Italy to meet European tradition painting. However, circumstances were such that the young man was able to go abroad later - in 1822.
Karl Bryullov came to Italy with his brother Alexander. There, young people studied the work of Renaissance masters, as well as earlier works European artists. Karl Bryullov especially liked genre painting. Impressed by this direction, the young man wrote famous paintings"Italian Morning" and "Italian Afternoon". Everyday scenes from life ordinary people They turned out incredibly touching and filled with feelings.
Also, the “Italian period” in Bryullov’s works is marked by a large number of portraits: “Horsewoman”, a portrait of Yulia Samoilova with a small little black, a portrait of the musician Matvey Vielgorsky - all these creations date back to that time. The series of portraits continues later, after Karl Pavlovich returned to his native Petersburg.
A few years later, Karl Bryullov returned to his beloved Italy, where he studied in detail the ruins of ancient cities - Herculaneum and Pompeii, which were destroyed by a powerful earthquake. The majesty of Pompeii, which perished due to the elements, impressed the artist, and Karl Bryullov devoted the next few years to studying the history of Pompeii and archaeological materials. The result painstaking work became the canvas, called “The Last Day of Pompeii” and which, according to art critics, became the pinnacle of the master’s creativity.
In 1833, after dozens of sketches and sketches, as well as 6 years of hard work, Karl Bryullov presented “The Last Day of Pompeii” to art lovers. The news about this painting instantly spread across all secular salons and art schools - artists and people simply not alien to art came to exhibitions in Milan and Paris specifically to get acquainted with Bryullov’s work, and were invariably delighted.
Karl Pavlovich himself was awarded the gold medal of Parisian art critics, as well as honorary membership of many European art academies. Such a large-scale work seemed to take all the master’s strength. After finishing “The Last Day of Pompeii,” Bryullov fell into a creative crisis, started and abandoned the canvases unfinished, and soon stopped picking up a brush altogether.
Deciding to take a break, Karl Pavlovich went on an expedition to Greece and Turkey. The change of scenery did the artist good: immediately after the trip, Bryullov wrote a whole series of watercolors and drawings, the most famous of which were “The Wounded Greek”, “Bakhchisarai Fountain”, “Turk Riding a Horse”, “Turkish Woman”.
In 1835, Bryullov, obeying the tsar’s decree, returned to Russian Empire. However, he did not immediately proceed to St. Petersburg, but stayed in Odessa, and then in Moscow. Golden-headed effect on the artist strong impression, charming with its majesty and simplicity at the same time.
Upon returning to St. Petersburg, Karl Bryullov, like his father before, began teaching at the St. Petersburg Academy of Arts. Later style Karl Pavlovich’s students will be called the “Bryullov school.” Bryullov himself continued to work on portraits, in addition, he participated in the painting of the church on Nevsky Prospekt.
Personal life
More than one year personal life Karla Bryullova was associated with Countess Yulia Samoilova, who became both the artist’s lover and true friend, support, as well as a muse and favorite model. The relationship between Bryullov and Samoilova was repeatedly interrupted; Julia went to Italy, where, according to rumors, she did not deny herself sensual pleasures. Then the couple got back together.
In 1839, Karl Bryullov married young Emilia Tim. The girl was barely 19 years old at that time. But a month later the couple separated. Karl Pavlovich's wife and her parents left for their native Riga, and the divorce proceedings lasted another two years, until 1841.
Emilia herself blamed her husband for the breakup, and some of the artist’s friends even turned away from him, siding with the girl. According to other information, the reason for the divorce was Emilia’s betrayal by dating another man.
Bryullov was having a hard time separating from his wife, and Yulia Samoilova, who came to St. Petersburg for a while, again became his support. The artist had no children.
Death
In 1847, the artist’s health made itself felt again: Karl Pavlovich’s rheumatism and ailing heart were seriously complicated by a severe cold, and Bryullov fell ill for a long time. However, even in this state the master could not help but create. In 1848, Bryullov completed a self-portrait, which to this day is considered an example of the genre and, according to art critics, conveys the artist’s character much better than a photo could.
A year later, Karl Pavlovich, at the insistence of doctors, left for the island of Madeira. The maritime climate should have eased the artist’s condition, but, unfortunately, it was too late. Bryullov’s health was constantly deteriorating, and on June 23, 1852, the master passed away due to an illness that undermined his body. After the artist’s death, unfinished sketches and sketches remained, which are now stored in private collections and museums around the world.
Works
- 1823 - “Italian Morning”
- 1827 - “Italian Afternoon”
- 1827 - “Interrupted Date”
- 1830-1833 - “The Last Day of Pompeii”
- 1831 - “Giovanina Pacini”
- 1832 - “Horsewoman”
- 1835 - “Olga Ferzen on a Donkey”
- 1839 - Portrait of fabulist Ivan Krylov
- 1840 - Portrait of the writer Alexander Strugovshchikov
- 1842 - Portrait of Countess Yulia Samoilova
- 1848 - Self-portrait
Born into the family of an artist, academician, and teacher at the Academy of Arts. Already in childhood, his father worked with him a lot, which could not but leave an imprint on his work. In his works, he usually followed the style that the Academy of Arts persistently introduced within its walls. However, as we will see, the trends also did not leave Bryullov indifferent. He brilliantly graduated from the Academy, received a Big Gold Medal, and then improved his skills in Italy, where he quickly achieved European recognition. The subjects of many of his paintings are inspired by Italian motifs. Bryullov owns paintings on both historical and historical mythological theme, and on everyday subjects. He also painted illustrations for literary works and a lot of portraits.
The painting recreates the death of the ancient city of Pompeii during the eruption of Mount Vesuvius in 79 AD. This is a huge canvas 4.5 meters high and 6.5 meters long.
The most complex landscape background, multi-figure composition required exertion of physical and creative energy. The success of the painting is explained by the stormy drama of the scene, the brilliance and brightness of the colors, the compositional scope, sculptural clarity and expressiveness of the forms.
Vesuvius opened its mouth - smoke poured out, a cloud of flames
Widely developed like a battle flag,
The earth is agitated - from the swaying columns
Idols fall! A people driven by fear
Under the stone rain, under the inflamed ashes,
Crowds, old and young, are running out of the city.
The main thing is that the painter convincingly showed: none, the most merciless and irresistible forces unable to destroy the human being in man. Peering at the picture, you notice that even at the moment of death, each of those depicted is not so much looking for salvation for himself, as he is striving first of all to save people close and dear to him. Thus, the man in the very center of the picture, stretching out the open palm of his left hand to the menacing sky, protects not himself from falling stones, but his wife, whom he covered with his cloak. The woman, bending over and leaning her whole body forward, tries to cover the children with her body.
Here are adult children trying to take their old father out from under the fire. Here the mother convinces her son to leave her and save himself. And here is the groom with the dead bride in his arms.
Of course, not all people are equally faithful and decent. The picture contains both bestial fear, forcing the rider on a horse to quickly save himself, and the insatiable greed with which the priest appropriates church treasures, taking advantage of the general panic. But there are not many of them.
Yet nobility and love prevail in the picture.
Bryullov's work bears a clear imprint of the influence of romanticism. This is evident both in the choice of theme and in the fiery coloring of the painting. But on the other hand, one can also see here the influence of classicism, to which Bryullov was always faithful - the figures of people are very reminiscent of perfect antique sculptures. Few works of art have known the triumph experienced by Bryullov’s creation.
Famous English writer Walter Scott spent two hours near the painting and assessed the creation of the Russian master as a historical epic. When the author stepped on native land, he was warmly celebrated already in Odessa (he arrived by sea), and especially enthusiastically in Moscow. It was in the “mother throne” that the artist was greeted with the poetic stanzas of E.A. Baratynsky:
You brought peace trophies
With you to your father's canopy,
And became “The Last Day of Pompeii”
First day for the Russian brush!
Perhaps the most famous portrait by Bryullov. Before us are the pupils of Countess Samoilova - Giovanna and Amazilia Pacini. This is a ceremonial portrait-picture: the young beauty Giovanna in the form of an Amazon reined in her horse in front of the veranda of the house, dogs and a little girl ran out to meet her, she looks at her sister with admiration and adoration. The portrait seems to be filled with movements and sounds: dogs bark, it seems that the echo of the trampling of children’s feet in the echoing corridors of the palazzo can still be heard. The horse is hot, but the rider herself calmly sits on his broad back. With great skill, Bryullov paints the rider’s fluttering emerald gauze scarf against the backdrop of the dark greenery of the park - green on green. The holiday will be imbued with a joyful feeling of admiration for the festive richness and diversity of life.
The model for this painting was a Roman commoner - a plump, round-faced person whom he depicted picking grapes. Standing on the stairs, she holds a basket of grapes in her left hand, and with her right hand she is about to pick bunch of grapes, and admired the play of light in the amber-filled berries. The artist found her doing this.
The generous Italian sun shines through the green foliage, burns with gold in the fruits of the grapes, flashes with a bright flame on the purple cape thrown over left hand of a young woman, the blush of her cheeks, the curve of her scarlet lips, pierces her lush bust, which was exposed by a blouse sliding off her shoulder.
“Italian noon” is a mature, blooming woman, matching the ripe and juicy fruits nurtured by the Italian sun. A riot of light and colors, a typically Italian, southern cast of faces does not require showing the surroundings to emphasize the scene.
The picture is based on a biblical story. Bathsheba is the wife of Uriah, a friend of King David. David killed Uriah and made Bathsheba his wife. She bore him a son, the future King Solomon, famous for his wisdom. The artist combined ideal beauty with life's truth in the picture. He writes beauty female body, but with all the sculptural forms that are reminiscent of classicism, this beauty is not cold, but alive, warm. The mythological plot in the spirit of romanticism is colored with the spice of oriental exoticism: the snow-white beauty of Bathsheba is set off by the dark-skinned body of a black woman.
Before us is a drama from the life of the Castilian king Alfonso IV of Portugal. The court lady of the wife of the king's son Don Pedro Inessa captivated the infant with her beauty, who, after the death of his wife, secretly married her, because... the father had another candidate for a wife for his son. The king's advisers found out his son's secret and revealed it to Alphonse.
Don Pedro refused to marry his father's suitor. Then, by decision of the Royal Council, it was decided to kill Inessa. After waiting for the moment when Don Pedro went hunting, the king and his advisers went to Inessa. When Inessa realized what awaited them, she threw herself at the king’s feet. The unfortunate woman sobbed, begging for her life. At first, the king took pity on the young woman, but his advisors persuaded her not to succumb to unnecessary pity and killed the mother of two children.
Don Pedro did not forgive his father for such treachery and after his death he found the direct killers and executed them. The artist managed to convey the feelings of a mother passionately pleading with her killers. The king and his minions are depicted in dark, gloomy colors; the figures of Inessa and the children stand out as a light spot. And again, in the depiction of a woman, Bryullov remains faithful to classicism, and in the choice of theme, in the depiction of passion, he leans towards romanticism.
A ceremonial portrait of the daughters of the famous theater lover and artist Shishmarev. The portrait is painted in the form genre painting, The sisters are depicted descending the marble staircase into the garden. A dog rushes swiftly at their feet. Below, an Ethiopian servant holds the Arabian horses. The movements of the “Amazons” are smooth and beautiful. Their costumes are exquisite. The color of blue, crimson, and black clothes is deep and rich.
This painting is the peak of Bryullov’s work as a portrait painter. This is a triumphant manifestation of beauty and spiritual strength, independent, bright, free person. Bryullov and Yulia Samoilova loved each other. They met in Rome, and their love was facilitated by the generous Italian nature. The artist depicted her and her pupil leaving the living room of the house: impetuous, impetuous, dazzlingly beautiful, captivating with her fragrant youth and passion of nature. The artist Kiprensky said that you can so successfully create a portrait of a woman whom you not only endlessly admire, but whom you love passionately and madly...
The second title of the painting is “Masquerade”. This is the main idea of the artist.
There, in the back of the hall, is a masquerade. But in the world of Samoilov's lies, complete human dignity, disdainfully took off her mask and proudly shows off her open face. She is sincere. She does not hide her love for the artist, who was condemned at this ball, and her attitude towards society, which she and her niece are defiantly leaving.
And there, in the back of the hall, the crowd in masks continues to have fun, there are representatives high society who are used to saying one thing, doing another, and thinking something else. There is a completely false society there, with which Bryullov so often did not coincide with his views. Samoilova played a huge role in the artist’s life - she supported him both financially and spiritually in difficult moments Bryullov's life.
This self-portrait is considered one of the best in world painting. In it, the artist conveyed the mood that possessed him at the end of his life. Bryullov was seriously ill at that time. The master depicts himself reclining in a chair. The red pillow on which the head rests tiredly emphasizes the sickly pallor of the face. The hand of the emaciated arm, powerlessly lowered from the armrest, reinforces the motif physical suffering. However, it is felt that mental anguish is added to physical suffering. The look of sunken, tired eyes speaks expressively about them. This masterpiece was written in just two hours.
Illustration painting poem of the same name Pushkin. He depicted the “timid wives” of Khan Giray in the garden by the pool, watching the movements of the fish in the water. A eunuch is watching them. With interest and delight, the artist conveys the exoticism of the East: fancy oriental costumes, the lush luxury of nature - all this gives the picture a festive decorative quality. There is no drama in the film. like in a poem. The idyllic mood makes it a picturesque illustration for the poems:
Carelessly waiting for the khan,
Around a playful fountain
On silk carpets
They sat in a crowd of frolics
And with childish joy they looked,
Like a fish in the clear depths
I walked on the marble bottom.
On purpose to her to the bottom of others
They dropped gold earrings.
The painting was painted in 1827. This is a scene from rural life, seen in one of the Italian places. Bryullov turned it into an elegant ballet performance.
The young peasant woman, like a graceful dancer, rose on her toes and spread her flexible arms, barely touching the vine with a bunch of black grapes. The musicality of her pose is emphasized by the light dress that fits her slender legs - a chiton. A thread of coral sets off a slender neck and a ruddy face framed by curly brown hair.
Another girl, reclining freely on the steps of the house. tinkles the bells of the tambourine and glances coquettishly at the viewer.
IN fun company a little brother in a short shirt intervenes - a kind of bacchanalian cupid who is carrying a wine bottle.
