Paintings by Russian artists of a woman with grapes. The further fate of the canvas


Today, December 23, marks the 215th anniversary of the birth of Karl Pavlovich Bryullov. His painting “The Last Day of Pompeii” is known even to those who are infinitely far from art, and having at least one of his drawings in their collections is an honor for any museum. St. Petersburg is lucky - the State Russian Museum alone houses about 50 works by Karl Bryullov. A few more can be seen in the Hermitage.

On the artist's birthday, the site tells the stories behind five of his most famous paintings.

"Italian Afternoon"

The future painter grew up in creative family- his father Pavel Brullo was an academician of ornamental sculpture, and all seven children in the family were involved in art in one way or another. But it was the weak and sickly Karl who had the most lucky fate. At the age of 10, Karl was accepted into Petersburg Academy arts, within whose walls he spent 12 years. In 1822 he earned a pensioner's scholarship for four years for himself and his brother Alexander. Before leaving for Italy they added to family name the letter “B” and became the Bryullovs.

Italy captivated young artist, he became interested in genre scenes from the life of local residents. In 1827, he asked a short, stocky young Italian woman to be his model for a small sketch. From it the painting “ Italian noon”, which became a pair of “Italian Morning” written four years earlier. At the same time, similar in color “Festival of the Grape Harvest” and “Girl Picking Grapes in the Vicinity of Naples” were written.

The film "Italian Afternoon" was received coldly and hostilely in Russia. Photo: Commons.wikimedia.org

“Midday” became the reason for Bryullov’s break with the Imperial Society for the Encouragement of Arts - at an exhibition in St. Petersburg, the picture caused a scandal, and critics called the model disproportionate. “I decided to look for that supposed variety in those forms of simple nature that we encounter more often and often even like more than the strict beauty of statues,” the author answered the critics.

“Portrait of Countess Yu. P. Samoilova leaving the ball with her pupil Amatsilia Pacini”

(State Russian Museum)

Bryullov met Countess Yulia Pavlovna Samoilova in 1827 at a party. The daughter of General Palen and Maria Skavronskaya, that year she separated from her husband, the emperor's aide-de-camp Count Nikolai Samoilov, with whom she lived together for only two years. After the breakup, Yulia Pavlovna went to Italy, and in Milan she entered the local high society, surrounded herself with artists and patronized the arts.

Countess Samoilova won the artist's heart forever. Photo: Commons.wikimedia.org

Bryullov was captivated by her Mediterranean beauty, grace, intelligence and independence. Long years she stayed for him artistic ideal, close friend and lady of my heart.

Over the course of several decades, he painted more than one portrait of her. On the canvas of 1842, her beauty appears in all its splendor against the backdrop of lush carnival interiors. And her colorful outfit seems to remind us of Italy, dear to the artist’s heart, where, by the way, the countess’s distant ancestors were from.

"The last day of Pompeii"

(State Russian Museum)

Fascinated by Samoilova, Bryullov in 1830 invited her to go together to inspect the ruins of Pompeii and Herculaneum. Archeology was in fashion then, because in 1828 another eruption of Vesuvius occurred. Working on new picture Bryullov began at the request of philanthropist Anatoly Demidov and did not even suspect that the picture would become the peak of his career. The creation of the masterpiece took three years. During this time, Bryullov studied a lot of literature about the ancient catastrophe and visited excavations, where he made a number of landscape sketches.

“The Last Day of Pompeii” became the pinnacle of Karl Bryullov’s work. Photo: Commons.wikimedia.org It is known that the canvas depicts part of the Street of Tombs, which the artist painted with his back to the city gates. There are dozens, if not hundreds of sketches left with figures of people whom he tried to portray as emotionally as possible. In the left corner he wrote himself - an artist rescuing drawing supplies. Also in the painting, Countess Yulia Samoilova is “mentioned” three times: a woman with a jug on her head in the left part of the canvas, a woman who fell to her death on the pavement in the center of the canvas, and a mother attracting her daughters to her in the left corner.

The canvas was exhibited in Rome, where it received rave reviews from critics, after which it was transported to the Louvre in Paris. This work became the first painting by the artist to arouse such interest abroad. In 1834, the painting “The Last Day of Pompeii” received a gold medal in Paris and was sent to St. Petersburg. Alexander Turgenev said that she was the glory of Russia and Italy. And Alexander Pushkin wrote the lines “Idols fall! A people driven by fear...” Nicholas I honored the artist with a personal audience and awarded Charles a laurel wreath, after which he was called “Charlemagne.” After the opening of the Russian Museum in 1895, the painting moved there.

"Rider"

(Tretyakov Gallery)

In 1832, Countess Yulia Samoilova asked her dear friend to paint a portrait of her pupil Giovanni Pacini. As the subject, the artist chose a horse ride: Giovanina rides up on horseback to her adoptive mother’s house, at the entrance of which she is enthusiastically greeted by her, dressed in a pink dress and green shoes. younger sister Amalicia. It is known that Samoilova adopted Amalitsiya from her father Italian composer Giovanni Pacini. Giovannina, it seems, was not hers sister- there is no clear version of its origin.

In the painting “Horsewoman” Bryullov depicted two students of Samoilova. Photo: Commons.wikimedia.org

The artist called his work “Giovanin on a Horse.” In the corner there is a picture of a shaggy dog, on the collar of which is the name of the customer of the canvas - “Samoylova”. In 1832, the painting was exhibited in Milan, in the Brera Gallery, after which it remained in the countess’s collection, which was sold in 1872, shortly before the death of the bankrupt Samoilova. In 1896, “The Horsewoman” was purchased for the gallery of P. M. Tretyakov.

"Bathsheba"

(Tretyakov Gallery)

“One evening, David, getting out of bed, was walking on the roof of the king’s house and saw a woman bathing from the roof; and that woman was very beautiful. And David sent to find out who this woman was? And they said to him, “This is Bathsheba, the daughter of Eliam, the wife of Uriah the Hittite,” the Bible says.

Before Bryullov, Russian painters almost did not turn to the nude, and female models were not even staged within the walls of the Academy of Arts. Experience new genre he was inspired by the Pompeian paintings he saw during his trips to Italy. “Bathsheba” is dedicated to the biblical story in which King David sent the beauty’s husband to his death in order to take possession of her.

"Bathsheba" became one of the first works with nudes in Russian painting. Photo: Commons.wikimedia.org

Alexandre Benois called Bathsheba, painted in 1832, “voluptuous and brilliant in color.” Bryullov worked on it for several years and almost despaired when he realized that biblical story it didn’t work out - once he even threw his boot into the picture. The painting was bought in unfinished form by a patron of the arts, who later donated it to Tretyakov Gallery. So she was left with unidentified translucent hands.

In 1835, Karl Bryullov returned to Russia to take up the position of professor at the Academy of Arts. An unhappy and short marriage awaited him with Chopin’s student Emilia Timm, new meeting with Countess Samoilova and new canvases. In 1847, he suffered from a severe cold and fell ill, and in 1849, at the insistence of doctors, he left for the island of Madeira. The treatment did not help, and in 1852 the artist died in small town near Rome. He is buried in the Cemetery of Monte Testaccio, a Roman cemetery for non-Catholic foreigners.

The grapes from a dream are a very ambiguous symbol. It can be a harbinger of either a romantic adventure or big profits, or severe fright or health problems. Modern dream books will help you figure out why you dream of grapes.

Dream Interpretation: Why does a woman dream about grapes?

In Miller's dream book, grapes that someone treats to a sleeping woman are a symbol of a new acquaintance. The girl will meet you on her own life path a very interesting person and will initiate the acquaintance herself. If it is a woman who feeds someone berries, in reality this will bring her sadness. Perhaps she will give her success or even her heart to another person.

IN Eastern dream book unripe fruits foretell a representative of the fair sex making a profit, for which she will have to work long and hard. But in a dream, harvesting grapes means big money. Especially if the clusters are very large and appetizing.

Did you have to mash the grapes to make wine? The girl was very tired from everyday activities and worries. She urgently needs quality rest before health problems begin.

Seeing green, black, white grapes in a dream

Interpretation largely depends on the color of the fruit.

  • If snow-white berries appear in a woman’s dream, you need to pay attention to the state of your body. First of all, visit a cardiologist. Possible heart problems.
  • If you dream Green grapes- the girl will face serious disappointment, because of which she will cry bitterly. Eating berries of this color indicates that the young lady has become an energy vampire for someone.
  • If you dream of black grapes, there will be major material losses. And trying very large dark clusters means great fear.

Why do you dream about picking berries?

One dreams about picking ripe blue large grapes on the eve of making a big profit. Finally, a woman will be able to afford many material pleasures that she has dreamed of for so long.

Karl Bryullov’s painting “A Girl Picking Grapes in the Vicinity of Naples” was painted in 1827 during the artist’s stay in Italy in order to improve his skills. This painting is based on a scene from Everyday life Italian girls. While picking grapes, the girl in the center seemed to be frozen in a dance: turning around, slightly leaning back, standing on her tiptoes, grabbing the pole supporting the grapevine with one hand, and with the other hand she plucks a ripe bunch.
Her elegance and grace, apparently, inspired the artist, and he masterfully managed to convey her charm.
The second girl with a tambourine, lying on the stone step, is no less attractive. With her head resting on a large green pumpkin, she playfully and flirtatiously looks at the viewer, as if inviting her to take part in the harvest. There is not a shadow of fatigue on her face, although she lay down to rest... Perhaps not from work, but from the sweltering summer heat.
The peeling brick wall the artist captured a little boy in a shirt with a large bottle of grape wine. There is a harnessed donkey in the background.
A stream of water from a source adds movement to the picture.

GREAT offer from the BigArtShop online store: buy a painting of a Girl picking grapes in the vicinity of Naples by artist Karl Bryullov on natural canvas in high resolution, decorated in a stylish baguette frame, at an ATTRACTIVE price.

Painting by Karl Bryullov A girl picking grapes in the vicinity of Naples: description, biography of the artist, customer reviews, other works by the author. Large catalog of paintings by Karl Bryullov on the website of the BigArtShop online store.

The BigArtShop online store presents a large catalog of paintings by artist Karl Bryullov. You can choose and buy your favorite reproductions of paintings by Karl Bryullov on natural canvas.

Karl Bryullov was born into a Russified German family. His father was a sculptor-carver and miniature painter. From the age of 10, for 12 years, Karl studied at the Academy of Arts. At the end of the class historical genre under the leadership of Andrei Ivanovich Ivanov in 1821 for the painting “The Appearance of Three Angels to Abraham at the Oak of Mamre” he was awarded a gold medal and received the right to travel abroad at public expense.

In 1823-1835 Bryullov worked in Italy.

His most significant work during this period was the painting “The Last Day of Pompeii,” written by Bryullov over three years and completed in 1833. The impressions received from visiting the excavation site of the ancient Roman city formed the basis of the work, which created a sensation in artistic circles both in Russia and abroad.

Bryullov returns to his homeland as a living classic. Later he was engaged in monumental design projects, where he showed himself as a decorator and playwright. He created sketches of the paintings of the Pulkovo Observatory, studies and sketches of angels and saints for St. Isaac's Cathedral.

Bryullov also left a lot in his legacy famous portraits people of art (many of them are kept in the Tretyakov Gallery).

Due to health reasons, Karl Bryullov spends the last three years of his life on the island of Madeira and in Italy, the country that helped him become famous. The artist’s last masterpiece was a portrait of his old friend, archaeologist Michelangelo Lanci, created in 1851.

canvas texture, quality paints and large format printing allow our reproductions of Karl Bryullov to be as good as the original. The canvas will be stretched on a special stretcher, after which the painting can be framed in the baguette of your choice.


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 nudity. Bryullov, inspired by the success of “ Last day Pompeii”, decided to paint a picture in a new genre. He took as a basis biblical story about 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 even once 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.