Carl Bryullov

Artist Bryullov (BRYULLOV) Carl P. 12. 12. 1799, St Petersburg - 11 (23). About. 1852, Mantsiana, Italy (buried in Rome), painter, watercolorist, draftsman, muralist, author of pictures of historical, mythological and religious subjects, a portraitist, genre painter, landscapist. The teacher. Descended from a dynasty of artists: PI Brullo son, brother, FP Brullo, AP and I. Briullov. The first drawing skills received from his father. From 1809 he studied at the IAH, the class of historical painting in AE Egorov, A. Ivanov, VK Shebuev. For the academic period the work of "naked young man with a spear" (1810s) and "The Genius of Art" (1817, 1820), representing the Study of nudes, as well as a picture "Narcissus looking into the water" (1819). In 1821 he graduated from the Imperial Academy of Arts with honors "the first dignity." At the end of August 1822 together with his brother Alexander the artist went to Italy in ka honors retiree OPH. In May 1823 the brothers arrived in Rome. Bryullov studied classical art, the works of Raphael, Peter Paul Rubens, Rembrandt, Velasquez D., Titian. In 1824, copied on canvas mural of Raphael's "School of Athens." A copy was enthusiastically accepted by his contemporaries. Stendhal wrote about it in "A Walk in Rome." Russian embassy estimated it at 10 OOO rubles. - An enormous sum for those times. Currently, "The School of Athens" is decorated with Raphael Hall of Arts in St. Petersburg. Without the experience gained in the course of this work, Bryullov could hardly create a picture of his home - "The Last Days of Pompeii." Portraits are stylistically very different: there are intimate, intimate, and formal portraits, paintings, dating back to the traditions of the XVIII century. The latter include, for example, the image of the Grand Duchess Elena Pavlovna and her daughter Maria (1830), the famous "Horseback" (1832), "Portrait of Countess P. Samoilova with pupil Giovannini Pacini and an Arab boy" (1834). In the latter expressed his sincere admiration for the artist's model. Samoilov surprisingly responded to his ideas about the ideal of feminine beauty. Bryullov repeatedly portrayed her. Samoilova recognizable features of the characters in the guise of many of his paintings: "Bathsheba" (1832), a sketch, "The Invasion Genzeriha to Rome" (1833-1835), "Last Day of Pompeii." The idea of ​​writing a large-scale historical painting came from the artist in the process of copying "of the Athenian school." The plot suggested a trip to P. Samoilova Pompey in the summer of 1827. Originally wished to have a picture of the countess, MG Razumovskaya odnaako about 1829 a contract for its creation was signed by A. Demidov, Prince of San Donato. Completed in 1833 grand canvas was an event not only for the author, but for the whole of Russian painting. Sketches and drafts for it are found in many collections. Himself wrote in the left side of the canvas with brush and paint box. View of the artist strives to falling statues that look ominously against the background of lightning cut through the crimson sky. A clear picture, the plastic molding forms, updating nature of the ideal models, the characteristic shapes of drapery like marble folds of antique statues, local color - all unmistakable signs klassitsizma.gicheskoy accessories are very different: there is a chamber, intimate, and formal portraits, paintings dating back to the traditions of the XVIII century. The latter include, for example, the image of the Grand Duchess Elena Pavlovna and her daughter Maria (1830), the famous "Horseback" (1832), "Portrait of Countess P. Samoilova with pupil Giovannini Pacini and an Arab boy" (1834). In the latter expressed his sincere admiration for the artist's model. Samoilov surprisingly responded to his ideas about the ideal of feminine beauty. Bryullov repeatedly portrayed her. Samoilova recognizable features of the characters in the guise of many of his paintings: "Bathsheba" (1832), a sketch, "The Invasion Genzeriha to Rome" (1833-1835), "Last Day of Pompeii." The idea of ​​writing a large-scale historical painting originated in Briullov in the process of copying "of the Athenian school." The plot suggested a trip to P. Samoilova Pompey in the summer of 1827. Originally wished to have a picture of the Countess M. Razumovsky, but about 1829 a contract for its creation was signed by A. Demidov, Prince of San Donato. Completed in 1833 grand canvas was an event not only for the author, but for the whole of Russian painting. Sketches and drafts for it are found in many collections. In the painting "The Last Days of Pompeii" united classic, romantic quality that is typical for the Russian academic painting of the first half of the XIX century. Image of an extraordinary event - the eruption of Vesuvius in August 24 n 79. Oe. - Serves as a clear indicator of romantic conflict paintings. Bryullov displays the scene troubled crowd. All the characters are emotionally united sense of imminent danger of death, but compositionally subdivided into groups. In accordance with the canons of classical artist found in each one defining quality: greed, generosity, selflessness, love in its various manifestations, and so he wrote himself to the left of the canvas with brush and paint box. View of the artist strives to falling statues that look ominously against the background of lightning cut through the crimson sky. A clear picture, the plastic molding forms, updating nature of the ideal models, the characteristic shapes of drapery like marble folds of antique statues, local color - all unmistakable signs of classicism. Portraits are very different: there are intimate, intimate, and formal portraits, paintings, dating back to the traditions of the XVIII century. The latter include, for example, the image of the Grand Duchess Elena Pavlovna and her daughter Maria (1830), the famous "Horseback" (1832), "Portrait of Countess P. Samoilova with pupil Giovannini Pacini and an Arab boy" (1834). In the latter expressed his sincere admiration for the artist's model. Samoilov surprisingly responded to his ideas about the ideal of feminine beauty. Bryullov repeatedly portrayed her. Samoilova recognizable features of the characters in the guise of many of his paintings: "Bathsheba" (1832), a sketch, "The Invasion Genzeriha to Rome" (1833-1835), "Last Day of Pompeii." The idea of ​​writing a large-scale historical painting originated in Briullov in the process of copying "of the Athenian school." The plot suggested a trip to P. Samoilova Pompey in the summer of 1827. Originally wished to have a picture of the Countess M. Razumovsky, but about 1829 a contract for its creation was signed by A. Demidov, Prince of San Donato. Completed in 1833 grand canvas was an event not only for the author, but for the whole of Russian painting. Sketches and drafts for it are found in many collections. The influence of the romantic aesthetic impact, especially in an innovative, contemporary lighting blights that creates the illusion of an explosion. The artist uses located almost on the verge of human perception of the combination of red hot with a cold white and yellow. Another important feature is the desire for historical accuracy. The painting is represented by disappearing into the depths actually existed Pompeian street. The tombs. Bryullov carefully studied eyewitness accounts, in particular the famous letter to the historian Pliny the Younger to Tacitus, spoke to the material excavation. Almost all of the items pictured repeat the original, kept in the museum of Naples. Painter is also the advice of well-known scientist-tion, an archaeologist, Professor of Oriental Languages ​​M. Lanci, whose beautiful portrait written later - in 1851. The canvas has been enthusiastically adopted Bryullov in Europe and Russia. For the first time in 1833 it saw the Italians at the exhibition in the gallery of Brera in Milan. Academy of Fine Arts in Milan and Florence, Bologna and Parma, AH Bryullov elected an honorary member. Uffizi Gallery, famous for its collection of self-portraits, commissioned Brullov self-portrait. The artist began work on it in Milan, but because of the departure to Russia this image has not been completed. In the Uffizi Gallery, it was not horrible, is now kept in the collection of timing. "After Milan in March 1834 painting" The Last Days of Pompeii "was exhibited at the annual Art Salon in Paris, the Louvre, where the author was awarded the first gold medal. Simultaneously, the artist wrote a genre scene of modern life daalyan-tion - "Italian Ugro" (1823). Cloth like in Rome and St. Petersburg. Nicholas I wanted to have a pair for him. Thus was the "Italian Midday (Italian, removes grape)" (182?). At the same time was written by another genre picture '-' Girl, gathering grapes in the vicinity of Naples "(1827). Various scenes from the lives of ordinary itatyantsev. touching, sad, or funny stories have many genres of paintings made with oil ("Vespers," "Piffera-ri in front of the Madonna," both -1825) and watercolor ("Feast of the grape harvest," "The scene on the threshold of the temple," both - 1827, "Confessions of an Italian *, 1827-1830," The party was in Llbaio ", 1830," Italian family (Waiting for the child). "1831;" L'Italiana, lit a lamp before the image of the Madonna, "1835). Another large area of ​​creativity Bryullov - portrait. Over the years spent in Italy, he performed more than one hundred portraits of contemporaries in various media: oil, watercolor, sepia, pencil. They have kept to this day liia many famous people: my brother Bryullov. Alexander and colleagues - artists and Architecture Hur Forces. " Shchedrin, KA Ton, AM Gornostayev, F. Bruni, P. Basin, Russian writers and public figures of VA Zhukovsky, brothers A. and S. Turgenev 'Count M. Yu Vielyorskogo. Italian writers, and J. F. Gveratstsi Kanechelatro singer J. Pasta, a sculptor Charles Barutstsi, representatives of the Russian nobility U of A. Demidov, Prince of Mecklenburg, Countess OI Orlova-Davydova, Prince G. Gagarin and members his family. Princess YN Volkonskaya etc. True masterpieces of the graphics are done in watercolor as a parade of images in the growth of portraits of GN and VA Olenin against fragments of ancient architecture, spouses, K., and M. Y. Naryshkin (both September 1827), Princess E. II. Saltykova (1833 - 1835), a brilliant naval officer VA Kornilov on bortl brig "Femi-Stokely" (1835). As a rule, the portraits are no different Bryullov depth psychological characteristics. Their strong point is the craftsmanship: the exact figure, an expressive body-plastic modeling of forms, rich color, developed within the local color. self-portrait, executed in watercolor brown (1830-1833), paintings, destined for the Uffizi (ca. 1833), unfinished genre scenes "portrait of the author and Baroness E. N. Muller-Zakomelsky with the girl in the boat" (1830), and finally, "Last Day of Pompeii." The composition late "Self Portrait" is like a "Portrait of Alexander N. jets - govschikova" (1840). The same bust cut shapes, the same Voltaire armchair with dark red velvet upholstery and comfortable armrests. But the state portrayed - is different. In "Self-Portrait" shows a sick, tired man. On the arm of the chair rests amazing beauty of the master's hand, who wrote "Pompey" and the brilliant portraits. In the general concept of it is no less important than the person. His last years were Bryullov on about. Madeira, where the magnificent painted large watercolors of "Walk", "Landscape in Madeira Island," "Riders" - companion portrait of E. and E. Myussar riding (all - 1849), the short journey to Spain (the end of May 1850 he visited in Barcelona, ​​Madrid, Kadik-se, Seville), and finally, in Italy, the son of A. Tittoni, a prominent figure in the liberation movement Risorgimento, teammate John Garibaldi. Apparently, the influence of the environment due to the emergence of creativity Bryullov sketches of tracks for him on an unexpected topic: "Political demonstration in Rome in 1846" and "The Return of Pope Pius IX in Rome" (both - ca. 1850). Still, the best established in the last year of his life - portraits. This images head of the family heroes of A. Tittoni, which the artist has given traits of Brutus, and his young daughter, Juliet, presented in the guise of Joan of Arc with a horse and armor (both - 1850-1852). Karl Bryullov, "the great Charles," as called by his contemporaries, died in a house Tittoni in Mantsiane near Rome. He was buried in the Roman cemetery of Monte-Te-stachcho. In the history of Russian art Bryullov came not only as a great painter, but also as an outstanding teacher. From 1836 to 1849 he taught at the Imperial Academy of Arts, where he led a class of historical painting (from 1846 professor of grade 1). His disciples rightly considered themselves not only those who actually have them (P. Fedotov, Shevchenko, MI Iron, AN Mokritsky, FA Moller, etc.), but and many who tried unsuccessfully to imitate him. The whole direction of the epigones Bryullov creativity in Russian art 1840-1850's has degenerated into a salon academic art. Channel http://v-protasov.ru