Karl Pavlovich Bryullov message. Artist Karl Pavlovich Bryullov - biography and paintings

Bryullov was born in St. Petersburg in 1799 and left the world near the city of Lazio and Rome in the commune of Manziana in 1852. He was the third son in the family of a teacher at the Academy of Arts. Karl practically did not know his mother, who left this world early, was a sickly boy who did not get out of bed until almost 8 years old, by the way, Bryullov ended his earthly path very painfully.

Strict paternal upbringing allowed Bryullov to enter the Academy of Arts at the age of 10 and become a recognized master there. He was adored by both fellow students and professors, he created recognizable works of art that were distinguished by talent.

In 1822, he graduated from the Academy with a huge number of medals and, thanks to a grant, went to Italy, where he stayed until 1834. This period is marked by the most interesting works, many of which have become classics of art. Bryullov is filled with the mood of romanticism, he writes a lot outside the canon of the Academy of Arts, but at the same time he creates something incredibly valuable and original.

In 1833, he creates the Last Day of Pompeii - a picture that created a real sensation in the art world. In 1836 he returned to St. Petersburg, where he lived until 1849.

Petersburg became a space for the continuation of the artist's fame, which only strengthened. Bryullov's talent became more diverse and interesting, he became famous as a portrait painter, and communicated a lot with the creative elite of the city. At the same time, Karl Pavlovich himself once said: “I can’t write a second Pompeii” and the prediction came true in many respects.

Charlemagne - as his friends and admirers called him, really wanted to create historical canvases, as befits graduates of the Academy of Arts, but he painted portraits and other "salon" works. He created for the most part paintings on the theme of happiness and joy, because he himself was very sick, according to the sad diagnosis of doctors.

Since 1850, he completely moved to the territory of Italy, where he painted his own self-portrait, which became the most famous. He lives in the house of A. Tittoni, where he paints interesting watercolors that remain in the collection of this family. Bryullov's final work was Michelangelo Lanci's portrait of his friend, an archaeologist.

Detailed biography and creativity

A small article will tell about the creative path of the great painter Karl Bryullov.

Youth years

Bryullov Karl Pavlovich was born in St. Petersburg on February 12, 1799. His father was German, in the city and he was known as a skilled sculptor. Especially beautifully he managed to create small miniatures of wood. The boy from early childhood began to get involved in drawing. Carlossy, as his close relatives and family friends called him, had a pencil as an extension of his hands. At the age of 10, he was admitted to the St. Petersburg Academy of Arts, where he lived for about 12 years.

The beginning of creativity

No one doubted that the young man would graduate from the Academy with excellent marks. In 1819, he left its territory and began to develop his own individual style of painting. Bryullov's elder brother at that time was engaged in the construction of St. Isaac's Cathedral and took it under his "roof".

At first, Karl preferred to paint portraits. He was often approached by the first persons of St. Petersburg - P. Kikin and A. Dmitriev-Mamonov. At the request of the men, Karl painted such famous paintings as "The Repentance of Polynices" and "Oedipus and Antigone". Due to the popularity of these paintings, Bryullov received a high award for those times - a trip to Italy for 4 years. There he lived not for the period allotted to him, but much longer - 12 years, from 1822 to 1834.

Life and work in Italy

Bryullov often visited the museums of Italy, where he carefully studied the work and paintings of the most famous artists of the past. Raphael's painting entitled "The School of Athens" attracted his particular attention. Karl decides to create an exact copy of it and spends about 4 years on it. As a result, the picture made a splash not only for his fellow artists, but also for those who were initially skeptical of him. During his stay in Italy, Bryullov painted such outstanding paintings as "Italian Noon" (1827) and Bathsheba (1832).

Karl Bryullov became a famous painter. Another picture that gave him even greater popularity and recognition is a secular portrait of a “horsewoman”. In the end, the artist again returned to his homeland, but already known and recognized during his lifetime as a great classic.

Last period of life

The year 1843 was also significant in his life. Bryullov created a painting for St. Isaac's Cathedral. But he did not refuse to paint portraits and was actively engaged in his favorite work. For the Tittoni family, he also painted several portraits.

From a young age, Karl Bryullov was often sick and was a weak child. In 1847, he suffered a cold, which gave a complication to the heart. Rheumatism forced the artist to spend almost seven long years in bed.

Doctors urged Bryullov to change the climate of Russia to a warmer tropical one. He settled on the island of Madeira. But even a change in the surrounding atmosphere did not improve his condition. He left the island and moved to Manziana in May 1852. There he spent the rest of his days and died a month later in June of the same year (1852).

Jules Verne is a French writer born February 8, 1828. Jules was the first child in the family, and later he had a brother and three sisters. At the age of six, the future writer was sent to a boarding school.

Artist, painter, muralist, watercolorist, draftsman, representative of academicism.

Member of the Milan and Parma academies, the Academy of St. Luke in Rome, professor of the St. Petersburg and Florence academies of arts, honorary free accomplice of the Paris Academy of Arts.

Brother of Alexander Bryullov, architect, representative of the Romanticism style.

Biography

Karl Bryullov was born on December 12 (23), 1799 in St. Petersburg, in the family of an academician, woodcarver and engraver of French origin Pavel Ivanovich Brullo (Brulleau, 1760-1833) and his wife Maria Ivanovna Schroeder (Schroeder), who had German roots.

From 1809 to 1821 he studied painting at the Academy of Arts in St. Petersburg, was a student of Andrei Ivanovich Ivanov. A brilliant student, he received a gold medal in the class of historical painting. By 1820, his first known work, Narcissus, dates back.

In 1822, Bryullov was seconded to Italy at the expense of the Society for the Encouragement of Artists. He visited Dresden, Munich; settled in Rome. Genre paintings: "Italian morning" (1823) and "Italian noon" (1827). After copying from Raphael's fresco The School of Athens, Bryullov began work on a large painting with a historical plot - The Last Day of Pompeii (1827-33), commissioned by Anatoly Nikolayevich Demidov. The idea of ​​“The Last Day…” is connected with the fashion for archeology that arose at that time and with relevance: in 1828, there was a mini-eruption of Vesuvius. Bryullov was in Pompeii and made a number of sketches on the spot: a landscape, ruins, petrified figures.

By this time, he met Yulia Samoilova, an aristocrat from the Skavronsky family, that is, relatives of Catherine I. Portraits: “Yu. Samoilova, with a pupil and a black child”, “Horsewoman” (1832), as well as the painting “Bathsheba” (1832) are associated with this stage of Bryullov’s life.

In 1836, after traveling through Greece and Turkey, Bryullov returned to Russia - through Odessa to Moscow and a few months later - to St. Petersburg. In Moscow, he met A. S. Pushkin; paints portraits of the poet and playwright A. K. Tolstoy and A. A. Perovsky (writer Anthony Pogorelsky). In St. Petersburg, a solemn reception awaits him at the Academy of Arts and the triumph of "The Last Day of Pompeii"; the picture managed to visit Paris (Louvre, 1834), where it was coldly received by Parisian critics: it was (already!) the era of Delacroix and French romanticism. The painting was presented by Demidov to Nicholas I, who placed it in the Imperial Hermitage, and then donated it to the Academy of Arts; it is currently in the Russian Museum.

Tombstone of Karl Bryullov at the Roman Protestant Cemetery

Until 1849, Bryullov lives and works in St. Petersburg. He is a professor at the Academy of Arts, a fashionable portrait painter; paints the Lutheran church on Nevsky Prospekt, St. Isaac's Cathedral (1843-47), paints a large picture "The Siege of Pskov" (1839-43; not finished).

Numerous portraits: Nestor Kukolnik (1836), V. A. Zhukovsky (1837-38), I. A. Krylov (1839); Yu. P. Samoilova with a pupil (1839); "Self-portrait", (1848).

Last years

In St. Petersburg, Bryullov's health deteriorated greatly. In 1849, he leaves Russia and travels to the island of Madeira for treatment. The artist travels to Spain.

In 1850 Bryullov returned to Italy. The most important works of this period are portraits of members of the Tittoni family and the Portrait of Michelangelo Lanci.

Bryullov died on June 11 (June 23, according to a new style) in 1852 in the town of Mantsiana near Rome. He was buried in the Testaccio Protestant Cemetery in Rome.

Influence

Bryullov, unlike Pushkin and his friend Glinka, did not have such a significant influence on Russian painting, as they did on literature and music, respectively. However, the psychological trend of Bryullov's portraits can be traced in all Russian masters of this genre: from Kramskoy and Perov to Serov and Vrubel.

· Bryullov personally petitioned for the release from serfdom of Taras Shevchenko, the future great Ukrainian poet. To this end, Bryullov, at the request of Zhukovsky, painted his portrait for the imperial family, which he played in the court lottery. After the ransom, Shevchenko became one of Bryullov's favorite students.

Karl Pavlovich Bryullov (1799 - 1852) - the great Karl - this was how the painter's contemporaries called him during his lifetime. His name was put on a par with the names of the best portrait painters in Flanders. And Emperor Nicholas I was so delighted with one of his works that he granted him a ring with a diamond.

french roots

Brullo was hereditary in the family: great-grandfather, grandfather, father - all were in the artists' workshop. Father, academician and teacher, was the first teacher of his children. The mother of the future painter had the maiden name Schroeder, coming from a Russified German family.

Years of study (1809 - 1821)

Twelve years he studied at the Academy during these years, thanks to his unique talent and serious home study, he developed more than safely: he stood out sharply among classmates. Education was based on the principles of classicism. The sequence of learning, now lost, was unshakable. They came to drawing living nature after a series of long stages of training: copying originals (still lifes and figurative compositions), drawing from plaster casts, then - mannequins in draperies "for people".

Carl was constantly ahead of his peers. The young man sincerely loved classicism, in which the real was subordinate to the ideal, where there was no place for the unrest and bustle of the world. But living life with its political passions and the beauty of living nature invaded the world of the idealist. And in his first painting "Narcissus" (1819), he went beyond the conventional framework that was set by the Academy. And for the competition picture, which he completed, observing all the canons, Bryullov received a gold medal.

Trip to Italy

The newly formed Society for the Encouragement of Artists sends two brothers, Charles and Alexander, to Rome. Before you is a portrait of Alexander Bryullov in those years.

He was not only handsome, but had a great ability in drawing and architecture. In St. Petersburg, he built a building and not only. This first visit to a country where the whole atmosphere is saturated with art and beauty will forever enter the soul of the brothers. At this time, with the permission of the emperor, their surname was Russified and now it becomes not Bryullo, but Bryullov. In the meantime, on the way, Karl Bryullov, whose biography gives him meetings with Gothic art and the work of Titian, is amazed and admires them. But gradually the ideas of romanticism, with which Russians are not yet familiar, begin to excite him.

Florence and, finally, Rome completely stunned and captivated the aspiring artist. Most of all, he admires Raphael and Leonardo, but also notices that the country is restless. It has a liberation movement. Freedom is what attracts all the people of the country. Bryullov cannot complete a single picture at this time - everything that he sees does not fit into a harmonious system in his head. But he does about 120 portraits. All his models are beautiful without exception. For example, “Portrait of E.P. Gagarina with her sons Eugene, Leo and Theophilus" (1824).

Already in this early work, both the brilliant gift of the colorist and the skill that the Academy gave him are visible. This intimate, with whom the artist was friends, immediately evokes sympathy. During these years, having become a popular painter, receiving many orders, Karl Bryullov, whose biography takes a new turn, breaks with the Society for the Encouragement of Artists and begins to write independent works. He is free to choose topics, he can create a new work and sell it. Bryullov became an independent person.

Ceremonial portrait (1832)

This is a paired portrait-painting that depicts Giovannina and Amacilia Pacchini. It is known as the "Horsewoman" painting. The Italians immediately started talking about the young Russian painter. Enthusiastic Italian critics praised everything in the picture - the virtuosity with which it was written, the delicate and rich palette. They were struck by the natural grace of movements and poses, plastic completeness. Many of them believed that the painting "The Horsewoman" was marked by genius.

The movements of the model on the black horse are swift, but they are balanced and solemn thanks to the compositional construction. The figure of Giovannina, confidently sitting in a side saddle, is in the center of the artist's attention, who is captivated by her regal grandeur, the ability to cope with a restive horse that cannot recover after a walk and rears up. The black satin horse and the white fluffy airy skirt of the model, which falls in graceful folds, are contrasting. Gentle and bold is the coloring of the clothes of Giovannina and Amalicia, who on the balcony meets the graceful horsewoman with admiration.

The whole world is beautiful under the brush of a master. Little Amalicia is designed to set off the confidence of driving a horse and the calmness of her sister. Amalicia looks at the magnificent Amazon trustingly, tenderly, in amazement. The two little dogs also meet a lovely young rider. On a furry dog ​​there is a collar with the inscription "Samoilova" written in Latin. We see the charm of youth, its courageous tenderness and confidence in this portrait. It is impossible not to place a portrait of the customer Y. Samoilova next to her, who has always inspired the painter.

He is amazing and worthy of the highest praise for Bryullov's skill.

Historical picture

In parallel with the creation of small Italian landscapes, Karl Bryullov, whose works combined elements of classicism, realism and baroque, conceived a large, grandiose historical canvas as early as 1827 and in 1830 began to implement it. The fact is, the artist visited the excavations in Pompeii. He was stunned by the extent to which the remains of the ancient city survived. Pompeii was alive, lacking only merchants in shops, residents who go about their business through the streets, rest at home or sit in pubs.

The idea of ​​the painting "The Last Day of Pompeii" Bryullov Karl hatched for three years. At this time, he read a lot of letters from eyewitnesses. The aesthetics of romanticism, which the artist was now filled with, required authenticity. To some extent, he was also influenced by his friendship with the composer Paccini, who wrote the opera The Last Day of Pompeii. Bryullov Karl heard her, and she also provided him with food for thought and fantasy. In addition, he, who deified Raphael, was inspired by his multi-figured frescoes in the Vatican. The plasticity of his characters, the rhythm of the organization of movement and various gestures - this is the school of Raphael. However, the color that he will use, the painter will draw on the richness of the colors of Titian. He develops a special female type - strong, strong, passionate and unusually beautiful. His muse was Countess Yu. Samoilova, whose appearance in the picture he will paint three times.

Disaster day

The greatness of the fatal moment is reflected on the canvas. This last black-and-scarlet day is terrible.

It is all engulfed in the flames of fires, pouring black ash, the roar of buildings that are collapsing, the cries for help of unfortunate rushing people to whom their gods have not sent protection. Yes, their gods themselves fall, unable to withstand the wrath of the earth and the raging volcano. In the foreground, a mother hugs her two daughters and sees with horror that there is nowhere else to wait for protection. Their gods have collapsed. Nearby, the sons carry their aged father, and the young man supports the fallen bride. Further, the frightened horse does not want to listen to his rider at all. Everything is in rapid motion. Only the artist is calm. He wants to remember these colors and movements forever. The Creator is a witness who will remember the bloody end of this night.

The figures are simply sculptural. No one yet believes that these are their last fateful minutes. But the all-good gods called them to this lofty, terrible spectacle. People will drink the full cup of suffering that was sent to them. Bryullov dressed in the classical form the experiences that people experience in the picture. All the shades of their feelings that the artist expressed are already pure romanticism.

The success in Italy was unusually great. And Paris did not appreciate this work, but Russia met this canvas with triumph. A. Pushkin and E. Baratynsky also responded to it. Gogol, Zhukovsky, Lermontov, Belinsky, Kuchelbecker - all highly appreciate this work. And the people went to the exhibition - townspeople, artisans, artisans, merchants. And Emperor Nicholas I, at a personal audience, which will take place later, will crown the head of the painter with a wreath of laurel.

Homecoming

After creating a majestic canvas at the request of Emperor Nicholas I, the artist Karl Bryullov, having visited Greece, Constantinople and Moscow, returned to St. Petersburg. But on the way he fell ill, and the return stretched out for almost three years. On the way, the painter worked a lot. So he painted in 1835 a portrait of Vice Admiral V.A. Kornilov, the future hero of the Crimean War.

Bryullov knew how to feel the character of his models. Right now, he has intuitively chosen a heroic personality. One way or another, he was already in Moscow in 1835. There he personally met A.S. Pushkin and V.A. Tropinin, our outstanding portrait painter, who came out of the serfs. The two artists appreciated each other's talents and became close friends.

Petersburg (1836 - 1849)

During this time he taught at the Academy and painted many portraits. We are familiar with N.V. Kukolnik, V.A. Zhukovsky, I.A. Krylov are all contemporaries of Karl Bryullov. Their portraits will be painted by the artist. Will make an illustration for "Svetlana" by V.A. Zhukovsky. Bryullov Karl will no longer create large historical canvases. The works and achievements of the last period of his life lie in the field of the portrait. Nestor Kukolnik, a person whom the artist loved and considered his close friend, even in a portrait will show his not the best qualities, so deeply the artist will be able to look into his inner world.

His model is woven from inconsistency and reflections. The romantic Bryullov transferred to the canvas an atmosphere of doubt and disappointment - the spirit of the times. The life-affirming festive Bryullov is gone. In the portrait, we see something that is difficult to convey in words, this is the inconsistency that lies in the very character of the Dollmaker. There is shyness, swagger, and some cynicism in him. The model looks directly at the viewer, but the figure is bent under the weight of timelessness. A wall separates him from life. The composition is calm, only light playing with reflexes brings dynamics and tension.

Marriage

In 1838, Karl Pavlovich Bryullov met and a year later married Emilia Timm. A month later, the joint life of the spouses was impossible. A long divorce process followed. Karl Bryullov, whose biography fluctuated so sharply, was rejected by society. A consolation for him was a meeting with a woman who came from Italy on matters related to inheritance. For himself, he paints her ceremonial portrait.

And again he sees the ideal of a Woman worthy of a place on a pedestal. Karl Pavlovich Bryullov again, coming to life, sings of a wonderful person. The power of the spirit of the countess is also manifested in the external monumentality of the columns and draperies, the most cast figure of Samoilova, which appears before the viewer as a beautiful antique sculpture. The artist again sees beauty and spiritual strength before him. In the world of masquerade, Samoilova threw off her mask and showed the world a free personality.

Karl Bryullov: self-portrait (1848)

While working on the murals of St. Isaac's Cathedral, which was still under construction, Bryullov fell seriously ill. He got rheumatism, which gave complications to the heart. He was prescribed bed rest and complete rest. Communication was reduced to a minimum - only doctors visited him.

And now a middle-aged artist, he is about fifty, after an illness, when he lay in solitude for more than six months, looks at himself in the mirror with bitter disappointment. He is weak, his relaxed posture speaks of this, the hand on which the veins are swollen hangs motionless. But there is no peace here. The picture sums up life. The eyebrows are brought together, the folds and wrinkles between them show a sharpened work of thought. The political changes that have affected the country are missed by him, and the artist, as he thinks, is going the wrong way. He was infinitely tired, this noble and exalted man. The strength of his spirit is high, which he is forced to humble. All disappointments are reflected in the self-portrait. He saw in the mirror not only himself, but his entire generation.

The work of Karl Bryullov

The last years of his life (1849 - 1852), on the recommendations of doctors, Bryullov will spend abroad. He is treated on the island of Madeira, then moves to Italy. He lives in the family of an associate of Garibaldi. The ideas of the struggle for freedom are picked up by the artist. He again, despite heart failure, works hard. Academic canons are pushed aside. The enthusiasm that swept the country is manifested in the portrait of Juliet Tittoni, who is depicted in armor. This is the Italian Joan of Arc.

The artist creates a gallery of images of struggling Italy. He regained faith in himself and his strength. But he cannot know how little time is allotted to him. Having traveled a long path of being carried away by academicism in his youth, moving on to a romantic perception of the world and joyful chanting of Beauty, and in his later years approaching realism, Karl Bryullov, in short, having done an extraordinary amount for Russian art, especially in the field of portraiture, did not have time to reveal all his creative potential.

His heart gave out, and he died at night in suffocation. The Russian genius is buried in Italy, in a small place near Rome, in a Protestant cemetery. In this year 1852, Russia lost V.A. Zhukovsky, N.V. Gogol, the best student of Bryullov P. Fedotov.

As far as possible, the article gives a description of the paintings of Karl Bryullov. His creations speak to us in a bright accessible language. Enter the world created by the painter and be mesmerized by the love and beauty that the master celebrated.

The future great painter was born on December 12, 1799 in St. Petersburg, in the family of an artist who painted wonderful miniatures, Pavel Brullo, a descendant of a Huguenot. They left their homeland in droves in 1685, when King Louis XIV issued a decree repealing the Edict of Nantes. The time had come when Protestants were persecuted everywhere.

Karl's creative destiny was predetermined from birth - his father was a painter in the 3rd generation; his 5 sons (Karl - middle) were educated at the Academy of Arts, where he taught, and became painters.

Karl had a very weak immune system, was ill a lot and until the age of seven he spent almost all the time in bed. His father, a mason by conviction, believed that every minute must certainly be spent with benefit. He himself was involved in the upbringing of the boys, demanding that they draw daily, and the tasks were considerable. If someone did not fulfill the entire norm, then he was deprived of lunch. Once angry, he hit the boy for a minor prank, and he was deaf in one ear all his life.

In 1809, Karl and his older brother were admitted to the Academy of Arts without exams. The mentors quickly noted that among classmates with Karl, no one could compare in drawing - he received awards, as his teachers said, "whole handfuls", striking everyone with his talent and unique abilities.

Having triumphantly graduated from the Academy in 1821 and having received an excellent certificate, Karl became a pensioner of the Society for the Encouragement of Artists (OPKh), and with these funds he and his brother went to Italy.

For ten months, the brothers slowly moved with stops through European countries, visiting many cities. For twelve wonderful years of his life, Bryullov lived in Italy. On this land blessed for all artists, he took place as a talented painter. During these years, many events took place in Europe, in particular, they were marked by an irreconcilable struggle between classicism and romanticism. Bryullov also takes an active part in it. The main "battles" took place in Paris, where the classics David and Ingres were "attacked" by artists led by Delacroix.

Since 1789, painters from Russia were not allowed into France - they lived in Rome. Bryullov was fascinated by the magnificent painting of the Renaissance, but he was looking for his own way. He soon said goodbye to the plots proposed by the Academy. His works "Italian Morning", "Italian Noon", "Horsewoman" and others put the artist on a par with the best painters in Europe. However, the OPH, which paid him money, caused bewilderment. Karl in 1829 broke off relations with the OPH and refused help.

At this time, Karl was attracted by a story from the life of Ancient Rome, and then the wealthy industrialist A. Demidov suggested that the artist paint a picture based on this story. Bryullov wrote this work for almost six years. The work was a kind of response of the painter to the questions that worried young artists at that time. He sought to reconcile classicism and romanticism in his work. The result was stunning - "The Last Day of Pompeii" was a deafening triumph in all European countries. The canvas was exhibited in Paris and was awarded the Big Gold Medal. Then, Demidov's gift to the emperor, was exhibited at the Academy of Arts. long lines lined up.

Bryullov left Italy at the call of Nicholas I, leaving his love behind. Countess Yulia Samoilova - a Russian beauty - legends were made about her novels. From their frequent correspondence, it is clear that it was a passion. Julia was Bryullov's muse, she shines in many of his paintings.

Russia met the "Great Charles", as they began to call him after this triumph, with jubilation. Receptions in his honor were held in the most distinguished houses of the capital and Moscow. Bryullov met many of the best representatives of culture and art. Warm sincere friendship connected him with M. Glinka and N. Kukolnik. But not everything went so smoothly ... Pushkin wrote: "Bryullov returns reluctantly, fearing a damp climate and captivity." The unwillingness to return had good reasons - Nicholas I, was excited by the mood that prevailed in Europe, "tightened the screws." The relationship between the emperor and the painter was tense - Bryullov was too freedom-loving by nature. Indeed, it is very surprising - he did not write a single portrait of the Russian monarch, under various, often far-fetched pretexts, refused such orders - there are several surviving memoirs of his contemporaries on this subject.

The artist set about creating the canvas “The Siege of Pskov by S. Batory”, which, as he said, very soon turned into “Annoyance from Pskov”. He wrote it for eight years and then abandoned it. To enroll in Prof. Bryullova K.P. there was a huge queue. His grateful students were: Chistyakov, Shevchenko, Fedotov, Ge.

The personal life of the great painter did not work out. He fell in love with Emily Timm, the daughter of the mayor of Riga. She agreed to become his wife, but before the wedding, Amy admitted that she had succumbed to her father's harassment and continued to have an intimate relationship with him. However, the young people got married. But Amy's father took her marriage as a cover to continue this relationship. A couple of months later, the marriage was annulled. "Great Karl" was glorified. Gossip did not stop, he was no longer accepted in many metropolitan houses.

The artist was often sick, tormented by heart problems. In 1849, he left Russia, traveling through Europe, and stopped at Fr. Madeira. A year later, Bryullov visited Spain and from there moved to his beloved Rome. He became friends with the family of Angelo Tittoni, Garibaldi's colleague in the revolutionary struggle.

On June 11, 1852, K. P. Bryullov left this world in Manziana, located not far from Rome, there were mineral waters prescribed to him by a doctor ... In the morning, nothing foreshadowed the tragedy, but after lunch he suddenly felt suffocated, and after three hours conscious until his last breath, he died.

Karl Bryullov was buried in Rome at the cemetery of Monte Testaccio. The greatest painter of the nineteenth century was only fifty-two.

Natalya Abdullaeva

Karl Pavlovich Bryullov is a famous Russian artist, the author of the immortal canvas "The Last Day of Pompeii", a virtuoso portrait master.

Origin

The future artist was born on December 23, 1799 in the family of an academician of arts. The history of his family is remarkable in many ways. There was a legend that Brullo lived in France, but being Protestants, after the repeal of the Edict of Nantes at the end of the 19th century, they were expelled from the country. The fugitives were forced to settle in Germany in the city of Lünenburg. It was from Germany, in search of a better life, that the great-grandfather of Karl Bryullov, Georg Bryullo, arrived. Karl's father, Pavel (Paul) Ivanovich Brullo (1760-1833), was a skilled wood carver, a master of miniature painting, he taught sculpture at the St. Petersburg Academy of Arts. Mom - Maria Ivanovna Schroeder, also came from a family with German roots. Carl had three brothers and two sisters. The elder brother Alexander later became a famous architect. Alexander Bryullov, thanks to his outstanding achievements in architecture, was awarded the hereditary title of nobility. Alexander had many children, who continued the Bryullov family. The famous painter himself had no legitimate children.

Childhood, youth

Karl was a rather sickly child. Nevertheless, from early childhood, guided by his father, he diligently studied the art of painting. In the autumn of 1809, together with his elder brother Alexander, the young artist was enrolled in the Imperial Academy of Arts. Bryullov studied at public expense. At the very beginning of his studies, Karl attracted the attention of teachers. A talented, inquisitive boy, he stood out noticeably among his classmates. Fellow students repeatedly asked Karl to correct their examination papers, the young man helped for a small fee. One of Karl's teachers was a wonderful Russian artist Andrei Ivanovich Ivanov. A talented teacher, Ivanov immediately appreciated the remarkable talent of the young man and helped Bryullov in many ways. In 1830, Andrei Ivanovich Ivanov fell into royal disfavor and was dismissed from the academy. Bryullov, then already a famous artist who had recently returned from abroad, received a laurel wreath as a reward for his achievements in the field of art, which he immediately, in public, as a sign of his greatest respect for his teacher, laid on Ivanov's head.

In 1821, Bryullov graduated with honors from the Academy of Arts. Already during his studies at the academy, the artist managed to create three significant paintings. The first was the canvas "Genius of Art", it is recognized as corresponding to all the canons of academicism and recommended for copying. The second significant creation of Bryullov was the painting “Narcissus Looking into the Water”, the painting was so liked by his teacher, Andrei Ivanovich Ivanov, that he bought it for his own collection. Nowadays, the picture can be seen in St. Petersburg, in the Russian Museum. The third canvas is his graduation work, the painting “The Appearance of Three Angels to Abraham at the Oak of Mamre”, for this work of art Bryullov was awarded a gold medal in the class of historical painting.

Italian period

Karl Bryullov, the gold medalist of the academy, had the right to a pensioner's trip abroad, but due to a quarrel with the director of the academy A. N. Olenin, the trip did not take place. But fate was favorable to the young talent. It was in those years that the philanthropic society for the encouragement of artists (OPKh) was formed in St. Petersburg. Members of the society turned their attention to Bryullov. The young artist, who had managed to prove himself in the most positive way even in his academic years, was asked to draw several test works. In case of successful implementation of these, it was promised to pay for a trip abroad. Bryullov enthusiastically set to work. From under his brush came out two wonderful paintings "Oedipus and Antigone" and "Polinek's Remorse". The authoritative jury was quite pleased with the quality of these works of art. However, Bryullov was given an additional condition for the trip: he was obliged to submit epistolary travel reports, as well as send new works. The artist agreed.

Shortly thereafter, on August 16, 1822, Karl Bryullov, together with his older brother Alexander, went on an exciting trip abroad. The itinerary of their journey was as follows: Riga - - Berlin - Dresden - Munich - Venice - Padua - Verona - Mantua - Bologna - Rome. Of course, the final stage of the voyage was a visit to Italy in order to study the richest art of this country. All people of art aspired to Italy: artists, sculptors, poets, architects, this delightful ancient country attracted creative people like a magnet. In the spring of 1823 the Brullo brothers arrived in Rome. Immediately upon arrival, the artist received an assignment from the OPH - to make a copy of Raphael's fresco "The School of Athens", this was Bryullov's last work, made in the status of a student. The artist, fascinated by the nature of Italy, plunged headlong into work. The very air of Italy, blessed by all the gods, contributed to the most productive creativity.

In Italy, Bryullov, who hitherto painted paintings mainly on religious and historical themes, became interested in genre painting. The artist painted everything that he saw around him with the liveliest passion. The canvas "Italian Morning" was the first stunning success. The painting was sent to St. Petersburg and presented to the emperor. Seeing the picture, the Russian crowned bearer was completely delighted. On the canvas, literally soaked in the sun of Italy, was depicted a girl washing her face, young and beautiful in her charming innocence. Bryullov was granted a diamond ring, and the royal wish was also conveyed to receive a pair of paintings. The consequence of this was the creation of the painting "Italian Noon". Alas, neither the OPH nor the emperor liked the picture, and the offended author broke off relations with the OPH. Thus, the artist deprived himself of financial support from Russia. But at that time, the artist already did not need it so much. Karl Bryullov managed to establish himself in Italy as a very good portrait painter. Orders from the Italian nobility poured in, as if from a cornucopia, and Russian nobles did not lag behind. Many portraits of the master were a successful symbiosis of artistic trends: strict classicism intertwined with luxurious baroque, and at the same time, objective realism could get along with elements of pretentiousness. The artist became fashionable and bought. Since 1827, Bryullov became interested in creating small watercolors depicting scenes from Italian life. Watercolors were bought up with pleasure by visiting aristocrats. All watercolors were made in a light, airy style, first of all, they sang the unsurpassed beauty of Italian nature and its wonderful inhabitants, descendants of the ancient Etruscans and proud Romans.

Italy is a country covered with legends of a great and terrible past. The territory where grandiose historical events took place that most directly affected the entire world order of planet Earth. In 1828, Mount Vesuvius erupted. Fortunately, it was not as destructive as in ancient times, but this event stirred up the memory of the terrible catastrophe of ancient times, the eruption that wiped out the beautiful city of Pompeii in the blink of an eye. The rich and large city was completely buried under giant layers of lava and ash. At the beginning of the 19th century in Italy, there was a flowering of interest in archaeological excavations, the search for artifacts and the study of ancient history.

Under the influence of the then fashion, the famous Russian philanthropist Anatoly Nikolaevich Demidov, a descendant of the famous Russian industrialist family, ordered Bryullov a canvas on this subject. In 1830, Karl Bryullov began work on a large historical canvas called "The Last Day of Pompeii." The painting was preceded by painstaking research conducted by the artist. He worked in the archives, studied all available literary sources, traveled to nature, visited the excavations of the ancient cities of Pompeii and Herculaneum. With all the power of his talent, he tried to penetrate the thickness of time, such a gift is given only to the elect, and Bryullov was one of the few who succeeded. It is enough to look at the picture and freeze in horror and admiration. This work is the most famous painting by Karl Bryullov, it has become his hallmark. Immediately after writing, the picture glorified itself and its creator. She was exhibited at the Louvre and won first prize at the Paris Salon. Later, the owner of the painting, Demidov, brought the painting to Russia and presented this masterpiece as a gift to the Russian Emperor Nicholas I. Initially, the painting was in the Hermitage, then it was donated to the Academy of Arts, but now the painting can be seen in the Russian Museum. In our time, for the layman, the name of the picture and the name of the artist sound like synonyms.

While in Italy, Karl Bryullov met Countess Samoilova, a noble aristocrat, the last of the Skavronsky family, a relative. Yulia Samoilova is the heiress of a fabulous fortune, an eccentric person, a secular lady, known for her outrageous behavior. By the time they met, Samoilova even managed to play the role of the emperor's mistress. By the way, Emperor Nicholas I could not avoid the same fate.

The artist, with his face reminiscent of Apollo, and his passion - Vesuvius erupting with fire, immediately, at first sight, won the heart of an extravagant beauty. Friends called Bryullov none other than "Charlemagne", the glory of a desperate heartthrob has long and firmly entrenched in him. A passionate romance broke out between the young people, which lasted several years. Bryullov and Samoilova became not only lovers, but also best friends. Their relationship was so trusting that upon returning to Russia, Samoilova asked Bryullov's brother, Alexander, to act as the architect of her new country mansion. Julia Samoilova was the muse and model for many of Karl Bryullov's paintings. For example, in the painting “The Last Day of Pompeii”, the features of Julia can be seen in several female characters at once, and in one of the male characters we recognize the artist himself. At that time, the artist created a magnificent painting “Yulia Samoilova with a pupil and a black child”, at the moment the painting is in the USA in a private collection.

During the time that Karl Bryullov stayed in Italy, he became a famous and respected artist. Many eminent artists were admirers of his talent. Walter Scott, Henri Stendhal, Franz Liszt and many others sincerely admired Bryullov's paintings. Emperor Nicholas I, delighted with the painting "The Last Day of Pompeii", gave the order to return Bryullov to his homeland. However, before leaving for Russia, the artist decided to accept the offer of his friend, Count Davydov, and make a trip to Asia Minor and Greece. But, alas, at the very beginning of the journey, Bryullov fell ill with a fever. Having recovered, he went to Russia, his path lay through Constantinople, where the artist found a new royal order for an immediate return, as well as an appointment to the title of junior professor at the Academy of Arts.

Return to Russia

In 1836, Bryullov returned to his homeland. The return to Russia was triumphant. A solemn reception in honor of the glorious painter was arranged at the Academy of Arts. After a short time, the Supreme Decree appeared, in which the royal permission was given: the brothers Brullo, Alexander and Karl, would continue to be called Brullovs in Russian, while the rest of the representatives of the family continued to be called Brullo.

At the Academy, the newly-made professor was asked to lead a history class and paint a large picture dedicated to one of the significant events in Russian history. The theme for the painting was approved by the Council of the Academy and personally by the Sovereign Emperor. The canvas “The Siege of the Polish King Stefan Batory in 1581” was supposed to be such a canvas, for writing a picture the artist was promised the title of senior professor. Preparation for the creation of the picture took place in the most painstaking manner. Bryullov, together with the artist-archaeologist Fyodor Solntsev, traveled to Pskov, made sketches from nature, but, alas, despite the most thorough preparations, the picture remained only a project.

In the same year, Bryullov met with. The meeting took place at Pushkin, who heard a lot about the famous artist, came to his apartment for the purpose of personal acquaintance. The same age, from the first meeting they got along well with each other. Bryullov liked Pushkin very much. Their friendship continued in St. Petersburg. Pushkin repeatedly came to the Academy to the artist's studio, where they discussed the plots of future paintings. The poet, who recently published "History" and "The Captain's Daughter", was very passionate about historical topics. He invited Bryullov to paint a picture dedicated to exploits. Alas, their friendship did not last long, on February 10, 1837, Pushkin died, he was killed in a duel.

After returning to his homeland, serious cataclysms occurred in Bryullov's personal life. For many years, the artist continued an affair with Countess Samoilova. However, in 1838, the ardent artist fell in love with an 18-year-old girl, the daughter of the mayor of Riga, Emilia Timm. On January 27, 1839, the wedding took place, but after only a month there was a sudden break. There is fragmentary information about the reason that served for their parting. Some researchers claim that young Emilia Timm had a vicious relationship with one of her closest relatives. It is known for certain that after the break, the opinion of the St. Petersburg world was not on the side of the artist. Deeply wounded, Bryullov again finds solace in the arms of his longtime mistress, Countess Samoilova, who has recently returned from Italy. After the scandal, the young wife left for Riga with her parents. The divorce proceedings lasted until 1841.

In the meantime, Bryullov's artistic career continued to go uphill, the artist's fame grew. The most noble and famous people longed to have portraits by Karl Bryullov. The brilliant Pushkin himself persuaded the artist to paint a portrait of his wife Natalya Goncharova, who was then considered the first beauty of St. Petersburg. But Bryullov had a rule, he took on portraits only of models that were interesting to him, Natalya Nikolaevna, for all her beauty, did not attract him as a model. Even Emperor Nicholas I himself was forced to wait until the artist was in the mood to complete his portrait. Portraits of Bryullov's wonderful friends are widely known: the fabulist, playwright Kukolnik, sculptor Vitali and many others. The artist's circle of contacts was unusually wide and varied, which is not surprising, since Karl Bryullov himself was a unique personality. Karl's friends admired his education, the breadth of his views, and the originality of his thinking. He knew how to inflame the hearts of people with the power of his romantic imagination, people of all ages fell under the charm of his amazing temperament. But at the same time, the artist thought clearly, clearly and logically. Bryullov was smart, talented, handsome and charming, he was well versed in politics and history, he was a brilliant psychologist. The artist was a member of the Masonic lodge "Chosen Michael". His famous contemporaries, Pushkin, spoke of him in the most enthusiastic terms.

Last years

In 1843-1847. Bryullov, along with the best artists of Russia, took part in the artistic painting of St. Isaac's and Kazan Cathedrals, he also painted the Lutheran Church on Nevsky Prospekt. Bryullov worked on these projects with great enthusiasm. However, at the beginning of 1849, the artist, who had not been in good health since childhood, fell ill. This time, chronic rheumatism gave a complication to the heart. Bryullov was forced to ask to be dismissed from work. The dank climate of Northern Palmyra did not at all contribute to good health, Bryullov's health deteriorated. Doctors insisted on urgent treatment abroad.

On April 27, 1849, in order to improve his health, Bryullov left for the Portuguese island of Madeira. In Madeira, the artist continued to work actively. While on the island, he mainly painted watercolor portraits of friends and acquaintances. Since 1850, Bryullov moved to his beloved Italy. In the same year, he traveled to Spain to enjoy the contemplation of the paintings of Diego Velasquez and Francisco de Goya. After the Spanish trip, Bryullov is finally returning to Italy. There, Bryullov met and became friends with A. Tittoni, an associate of Garibaldi, an artist in his house and spent the remaining years of his life. All of his last works remained in the private collection of the Tittoni family.

Karl Pavlovich Bryullov died on June 11 (23), 1852 in the town of Mantsiana, not far from Rome. The cause of death is suffocation. The artist is buried in Rome in a Protestant cemetery.

Heritage

Karl Bryullov, with his diligence and talent, achieved world fame during his lifetime. He was equally revered and recognizable, both in Russia and in Europe. The artist was favored by the powers that be, he was an honorary member of the Parma, Milan, Roman Academy of Arts. The painter was an outstanding master of ceremonial and chamber portraits. The work of Karl Bryullov does not fit into the framework of any one artistic direction. In the work "The Last Day of Pompeii", the academic form organically merges with the atmosphere of romantic tragedy. Bryullov is considered a representative of both academicism and Russian romanticism. He had a huge influence on the development of the Russian art school. Bryullov's work had many imitators and successors. On the famous, installed in 1862, Bryullov is embodied in one of the 16 statues, the greatest figures of Russian art.

Dmitry Sytov

Relevant to localities:

In 1836, by order of Nicholas I, they visited Pskov, accompanied by the artist-archaeologist F. G. Solntsev, studied the preserved antiquities in the city and made natural sketches for the painting “The Siege of Pskov by the Polish King Stefan Batory in 1581” (the painting remained unfinished).