"Всадница@" Karl Briullov
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Mysterious portrait: who actually was a" Horsewoman" Karl Briullov
K. Bryullov. Rider, 1832. Fragment
During your stay in Italy, Karl Bryullov wrote one of the most mysterious portraits." Rider" has caused a lot of debate about who is actually depicted by the artist – his beloved Countess Yulia Samoylova or her pupils Giovanina and Amazilia.
K. Bryullov. Self-portrait, CA. 1833. Fragment
a Picture of Briullov ordered his lover, Countess Julia Pavlovna Samoilova – one of the most beautiful and richest women in the early nineteenth century, Count J. litt – second husband of her grandmother, the Countess skavronskaia E., – left her a huge fortune. From-за divorce, scandalous reputation and defiant behavior in a conversation with the Emperor Samoilova had to leave Russia and move to Italy. There she lived on a Grand scale, bought villas and palaces, made a show. She was going to the color of the Italian society: composers, artists, actors, diplomats said. Frequent guests of the Countess were Verdi, Rossini, Bellini, Pacini.
K. Bryullov. Rider, 1832. Fragment
For their houses Samoylova often ordered sculptures and paintings. One of them was a formal portrait of the Bryullov. Collection of the Countess enjoyed Italy very popular: often art lovers specially came to Milan in order to see its collection of paintings and sculptures.
K. Bryullov. Rider, 1832. Fragment
K. Bryullov wrote" the Horsewoman" in 1832, the same pattern was exhibited in Milan." Horsewoman" was a great success in Italy. The Newspapers wrote:" a Great painter in this year with a big picture painted with oil paints, and exceeded all expectations. Manner which executed this portrait makes you think of beautiful works by van Dyck and Rubens".
K. Bryullov. Rider, 1832
Disagreement about who was depicted in the portrait, gave rise to the artist himself. Samoilova in 1832 was about 30 years old, and the picture of the girl looks much younger. But it is not like the young children of the Countess depicted in other portraits of the time, in particular, the portrait of Yulia Samoilova with a pupil Dzhovaniny Pacini and black boy, created in 1834
K. Bryullov. Portrait of Yulia Samoilova with a pupil Dzhovaniny Pacini and black boy, 1834
40 years the picture was in the collection Samoilova. Shortly before his death, completely ruined, the Countess was forced to sell it. In 1893, the" Rider" was purchased for the Tretyakov gallery as the portrait of Countess Yulia Samoilova. For a long time it was thought that she is shown as riding position. However, later critics have been able to prove that the painting – not the Countess herself and her pupils Giovanina and Amazilia, and that this work is mentioned in the personal records of the artist under the name" Jovann on a horse". In favor of this version is a portrait likeness depicted in other pictures of Yulia Samoilova and her pupils.
K. Bryullov. Portrait of Countess Yu. p. Samoilova departing from the ball with a pupil Amazilia Pacini, 1839-1840
Bryullov painted portraits of the Countess Samoilova repeatedly, and all the paintings felt his warm attitude to posing. Alexander Benois wrote:" Probably thanks to his relation to the represented person, he managed to Express so much fire and passion that when you look at them it becomes immediately clear that the whole satanic beauty of his models...".
K. Bryullov. Portrait of Countess Yu. p. Samoilova. Fragment
Giovanina and Amazilia were foster daughters Samoilova, although officially they were not adopted. There is a version that Giovanina is the niece of the second husband Samoilova, Opera singer Perry, born out of wedlock. According to another version, both girls were the daughters of the composer Pacini. Their children at the Countess was not, and she took care Giovanina and Amazilia.
K. Bryullov. Portrait Dzhovaniny Pacini, approx. 1831
When Giovanina married Austrian officer, Samoilov has pledged her dowry in the amount of 250 thousand lire, and to leave a legacy of Milan"s house. However, in later years the Countess went bankrupt and the last days spent in poverty. And Giovanina tried to recover the promised amount through the lawyer.
K. Bryullov. Self-portrait, 1848. Fragment
Source: http://www.kulturologia.EN/blogs/030716/30276/
Link to original
K. Bryullov. Rider, 1832. Fragment
During your stay in Italy, Karl Bryullov wrote one of the most mysterious portraits." Rider" has caused a lot of debate about who is actually depicted by the artist – his beloved Countess Yulia Samoylova or her pupils Giovanina and Amazilia.
K. Bryullov. Self-portrait, CA. 1833. Fragment
a Picture of Briullov ordered his lover, Countess Julia Pavlovna Samoilova – one of the most beautiful and richest women in the early nineteenth century, Count J. litt – second husband of her grandmother, the Countess skavronskaia E., – left her a huge fortune. From-за divorce, scandalous reputation and defiant behavior in a conversation with the Emperor Samoilova had to leave Russia and move to Italy. There she lived on a Grand scale, bought villas and palaces, made a show. She was going to the color of the Italian society: composers, artists, actors, diplomats said. Frequent guests of the Countess were Verdi, Rossini, Bellini, Pacini.
K. Bryullov. Rider, 1832. Fragment
For their houses Samoylova often ordered sculptures and paintings. One of them was a formal portrait of the Bryullov. Collection of the Countess enjoyed Italy very popular: often art lovers specially came to Milan in order to see its collection of paintings and sculptures.
K. Bryullov. Rider, 1832. Fragment
K. Bryullov wrote" the Horsewoman" in 1832, the same pattern was exhibited in Milan." Horsewoman" was a great success in Italy. The Newspapers wrote:" a Great painter in this year with a big picture painted with oil paints, and exceeded all expectations. Manner which executed this portrait makes you think of beautiful works by van Dyck and Rubens".
K. Bryullov. Rider, 1832
Disagreement about who was depicted in the portrait, gave rise to the artist himself. Samoilova in 1832 was about 30 years old, and the picture of the girl looks much younger. But it is not like the young children of the Countess depicted in other portraits of the time, in particular, the portrait of Yulia Samoilova with a pupil Dzhovaniny Pacini and black boy, created in 1834
K. Bryullov. Portrait of Yulia Samoilova with a pupil Dzhovaniny Pacini and black boy, 1834
40 years the picture was in the collection Samoilova. Shortly before his death, completely ruined, the Countess was forced to sell it. In 1893, the" Rider" was purchased for the Tretyakov gallery as the portrait of Countess Yulia Samoilova. For a long time it was thought that she is shown as riding position. However, later critics have been able to prove that the painting – not the Countess herself and her pupils Giovanina and Amazilia, and that this work is mentioned in the personal records of the artist under the name" Jovann on a horse". In favor of this version is a portrait likeness depicted in other pictures of Yulia Samoilova and her pupils.
K. Bryullov. Portrait of Countess Yu. p. Samoilova departing from the ball with a pupil Amazilia Pacini, 1839-1840
Bryullov painted portraits of the Countess Samoilova repeatedly, and all the paintings felt his warm attitude to posing. Alexander Benois wrote:" Probably thanks to his relation to the represented person, he managed to Express so much fire and passion that when you look at them it becomes immediately clear that the whole satanic beauty of his models...".
K. Bryullov. Portrait of Countess Yu. p. Samoilova. Fragment
Giovanina and Amazilia were foster daughters Samoilova, although officially they were not adopted. There is a version that Giovanina is the niece of the second husband Samoilova, Opera singer Perry, born out of wedlock. According to another version, both girls were the daughters of the composer Pacini. Their children at the Countess was not, and she took care Giovanina and Amazilia.
K. Bryullov. Portrait Dzhovaniny Pacini, approx. 1831
When Giovanina married Austrian officer, Samoilov has pledged her dowry in the amount of 250 thousand lire, and to leave a legacy of Milan"s house. However, in later years the Countess went bankrupt and the last days spent in poverty. And Giovanina tried to recover the promised amount through the lawyer.
K. Bryullov. Self-portrait, 1848. Fragment
Source: http://www.kulturologia.EN/blogs/030716/30276/
Link to original
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