Bryullov Karl biography. Photo and biography of Karl Bryullov. Interesting facts Events in the personal life of the artist

Karl Pavlovich Bryullov (December 12, 1799, St. Petersburg - June 11, 1852, Manziana, Italy) - Russian artist, painter, muralist, watercolorist, representative of academicism. He was assigned the unspoken title of "the main Russian romantic" in painting.

K. Bryullov. Self-portrait. About 1833

Karl Bryullov was born in St. Petersburg in the family of an academician, a teacher in the class of ornamental sculpture at the St. Petersburg Academy of Arts, a woodcarver, a craftsman miniature painting and engraver of French origin Pavel Ivanovich Brullo (Brulleau, 1760-1833) and his wife Maria Ivanovna Schroeder, who had German roots. In addition to him, the family had three more sons and two daughters. Carl was deaf left ear. The reason for this was received in childhood from his father, a very strict man, a slap in the face for some misconduct. Until 1822, Karl and Alexander Bryullov bore the name of their ancestors Bryullo. And only with highest resolution Emperor Alexander I, they Russified their surname, adding to it the Russian ending "v".

K. Bryullov. Self-portrait. 1823

K. Bryullov. Portrait of the architect A.P. Bryullov, the artist's brother. 1823-1827

K. Bryullov. Portrait of the architect A.P. Bryullov, the artist's brother.

In 1809-1822 he studied at the Academy of Arts with A.I. Ivanov, A.E. Egorov, V.K. Shebuev. In 1821, Karl Bryullov was awarded the gold medal of the Academy for the painting “The Appearance of Three Angels to Abraham at the Oak of Mamre” and the right to continue his studies in painting in Italy at public expense.

K. Bryullov. The appearance of three angels to Abraham at the oak of Mamre. 1821

K. Bryullov. Portrait of the author and Baroness E.N. Meller-Zakomelskaya with a girl in a boat. 1833-1835

From 1822 to 1834, as a pensioner of the Society for the Encouragement of Artists, he lived and worked in Italy, where he painted The Last Day of Pompeii, which was awarded the Grand Prix in Paris. The painting was commissioned by the Russian magnate Anatoly Nikolaevich Demidov. Bryullov worked on it for 6 years. At the same time he created a number of portraits, including the painting "Horsewoman" (1832), which brought him loud glory. Karl Bryullov's favorite habit, which has remained since his student days, was working on a picture while reading aloud.

K. Bryullov. Portrait of A. N. Demidov. 1831-1852

In 1827 in Rome, in the famous salon of Zinaida Volkonskaya, Karl Bryullov met Countess Yulia Pavlovna Samoilova. Between them there was not just friendship. In the summer, they traveled together in Italy and wandered among the ruins of Pompeii, where the idea of ​​​​the famous master of the canvas was born. Thanks to Yulia, Bryullov met people from high society, he painted his beloved a lot and with enthusiasm. Two ceremonial portraits of the countess, created by him, have been preserved, it is assumed that there were more of them, but they are lost. In the painting “The Last Day of Pompeii”, Bryullov wrote it three times: next to the artist (himself) with a jug on his head, which fell to the ground and in the form of a mother clutching her daughters, in the left corner of the picture.

K. Bryullov. The last day of Pompeii. 1833

Yulia Pavlovna Samoilova in the painting "The Last Day of Pompeii".

Yulia Pavlovna Samoilova and Karl Bryullov in the painting "The Last Day of Pompeii".

“Nothing was done according to the rules between me and Karl,” Yulia boldly confessed. She was faithful to him for no more than a week. And with a light heart she accepted his fleeting betrayals, more like attempts to escape from her, to escape. But no! He could not escape from Julia. “My friend Brishka ... I love you more than I can explain, I hug you and I will be sincerely committed to you to the grave. I kiss you and, surely, I will write to you often, for it is happiness for me to talk with you at least with a pen, ”she wrote to him, rushing off somewhere with another lover. On many works of the master you can see her features.

K. Bryullov. Bathsheba. 1832

In 1825, Julia (daughter of General Palen and Maria Skavronskaya), being a maid of honor, married 24-year-old Count Nikolai Alexandrovich Samoilov, adjutant of the emperor, who was her relative, second cousin uncle. In 1827, the couple separated by mutual agreement, Samoilov returned the dowry and maintained very friendly relations with Julia. Contemporaries considered Yulia Pavlovna to be the culprit of what happened. Some said that the reason for this was her connection with the French ambassador, Count Pierre La Feronne, others with Barant-son.

B.Sh. Mituar. Portrait of Yu. P. Samoilova 1825

Yulia Pavlovna kept herself extremely independent. With her extravagant lifestyle and behavior, she shocked Petersburg society. O.S. Pavlishcheva wrote to her husband in Warsaw: “Did Countess Samoilova pass through Warsaw? Did she perform her tricks, that is, did she sit on the irradiation with the coachman, with a pipe in her mouth and a man's hat on her curled and disheveled head? She's very funny and I think she's a little crazy." Alexander Pushkin wrote about Yulia Samoilova:
“She has no rivals, no girlfriends,
Beauties of our pale circle
In her radiance disappears ... "

K. Bryullov. Portrait of Countess Samoilova, leaving the ball with the Persian envoy (with her adopted daughter Amazilia). 1842

Countess Samoilova had two adopted daughters - the younger Amazilia (born in 1828) and the eldest Giovannina Pacini, the children of the impoverished Milanese singer and composer Giovanni Pacini, the author of the opera The Last Day of Pompeii, which made an impression on Bryullov.

K. Bryullov. "Rider". Portrait of Giovannina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova. 1832

It is not known when Samoilova took Amatsiliya into her upbringing, but, judging by the painting “The Horsewoman”, painted in 1832, she lived with her for four years. The issue with these two girls is not fully clarified, the documents show that the composer actually had only one daughter. There is a version that the real name of the second girl, Giovannina, is Carmine Bertolotti and she is illegitimate daughter Clementine Perry, sister of Samoilova's second husband.

K. Bryullov. Portrait of Yu.P. Samoilova with Giovanina Pacini and a black boy. 1832-1834

In 1835, Bryullov traveled to Greece and Turkey, during which he performed a number of graphic works. In the same year he returned to Russia, until 1836 he lived in Moscow, where he met A. S. Pushkin, then moved to St. Petersburg. In 1836-1849 he taught at the Academy of Arts. He executed a number of portraits of figures of Russian culture, including N. V. Kukolnik (1836), I. P. Vitali (1837), I. A. Krylov (1839). He was friends with M. I. Glinka and N. V. Kukolnik. In 1843-1847, he took part in paintings for the Kazan and St. Isaac's Cathedrals in St. Petersburg (completed by P.V. Basin).

K. Bryullov. Portrait of P.V. Basin. 1830

K. Bryullov. Glinka's head profile. 1843-1847

K. Bryullov. Portrait of the sculptor I. P. Vitali. 1836-1837

K. Bryullov. Portrait of the writer N.V. Puppeteer.

Bryullov personally petitioned for the release from serfdom of Taras Shevchenko, the future great Ukrainian poet. The first attempt to redeem Shevchenko from serf bondage ended in failure - Engelhardt asked Bryullov for a huge amount of 2,500 rubles! “The biggest pig in Torzhkov shoes,” Bryullov said about the landowner after this conversation. Such big money no one had. Then Bryullov and Zhukovsky came up with an original move - the artist will paint a portrait of Vasily Andreevich, which will be played in the lottery. The required amount of 2,500 rubles was collected, and the portrait was sold.

K. Bryullov. Portrait of the poet V.A. Zhukovsky. 1837

The question is very interesting, who participated in the lottery, and who won the portrait?
In the diary of one of the royal persons there is an entry about this event: “Empress Alexandra Feodorovna spent 400 rubles, future emperor Alexander II and grand duchess Elena Pavlovna - 300 rubles each. It is known that the royal family bought all the tickets, however, as can be seen from the record, they paid only 1000 rubles. The rest of the money had to be added by Karl Bryullov and Vasily Zhukovsky themselves.
The Empress won the lottery and immediately presented the portrait to the heir.

K. Bryullov. Empress Alexandra Feodorovna. 1830

After the ransom, Shevchenko became one of Bryullov's favorite students. It is known that after the first meeting between Bryullov and Shevchenko, the artist said to P. Soshenko, who introduced them: “I like his face. It's not servile." This impression played a role in the further participation of the artist in the fate of the great Ukrainian poet.

Kramskoy I. N. Portrait of the poet and artist Taras Grigoryevich Shevchenko. 1871

Living in St. Petersburg, Bryullov never took on group portraits of visiting Moscow officials or merchants with their capital comrades. When refusing, he always said the same phrase: “You have your own excellent artist,” alluding to V.A. Tropinin. By this, the painter once again showed his respect for the talent of the Moscow portrait painter. Some of Bryullov's paintings were finished by his students for unknown reasons. Among these works is a portrait of I.A. Krylov: its right side was completed by one of the painter's students F. Goretsky.

K. Bryullov. Portrait of the fabulist I.A. Krylov. 1839

In 1838, Bryullov met 18-year-old Emilia Timm, the daughter of the Riga burgomaster Georg Friedrich Timm, a virtuoso pianist, and fell madly in love with her. In the same year, Karl made an official proposal to Emilia and she agreed. The image of Emilia Bryullov captured in some of his works of those years. So in the altarpiece for the Lutheran Church of St. Peter and Paul "Crucifixion", the master gave Mary Magdalene the features of Emilia Timm.

K. Bryullov. crucifixion. Altar painting of the Church of St. Peter and Paul. 1838

On January 27, 1839, they got married, however, as Alexander Bryullov, the painter’s brother, recalled: “... On the very day of the wedding, Karl dressed as he usually dresses, took his hat and, passing through the workshop, stopped in front of a copy of Domenichino, already finished. He stood silently for a long time, then sat down in an armchair. There was no one in the workshop except him and me. The silence continued for several more minutes. Then, turning to me, he said: “Tsampieri seems to be telling me:“ Don’t marry, you will die ... ”. Taras Shevchenko left disturbing memories of the wedding of Karl and Emilia: “I have never seen in my life, and I will not see such a beauty. But during the ceremony, Karl Pavlovich stood deep in thought: he never once looked at his beautiful bride.

K. Bryullov. Portrait of a young woman at the piano (Emilia Timm). 1838

“There was a rumor that the bride and groom had a quarrel shortly before the wedding, relatives intervened in the matter, the quarrel was hushed up, and the wedding was rushed. However, what now to think and guess: a charming creature with a thin face and light movements has settled in the workshop; everything is cute in Madame Emilia - and a cheerful chirping with a German accent, and the shyness with which she runs away from her husband's indiscreet jokes, and the German trivia card game, to which she tries to intrigue the students visiting the workshop. But the Great is sad, something gnaws at him, does not give rest, even in heavenly moments, when his wife sits down at the piano, a trace of concern does not disappear from his face ... ”, Porudominsky writes about the beginning family life Karl and Emilia.

K. Bryullov. Portrait of Emilia Timm. 1838

A month later, the couple broke up forever. Emilia left with her parents for Riga, the divorce proceedings initiated by Bryullov continued until 1841. The reason for the breakup remained unknown to St. Petersburg society, which blamed her husband for everything. Bryullov, slandered, according to him, by his wife and her relatives, became an outcast. Researchers claim that the true reason for the breakup was Emilia's relationship with one of her close relatives, which continued after her marriage. Probably, Bryullov found out about the infidelity of the bride before the wedding itself, which nevertheless took place under pressure from Emilia's parents. Although the reason for the break with the great artist could be the fact that Bryullov was far from common man, and the age difference of more than 20 years has done its job.

Watercolor by K. Bryullov. Samoilova Yulia Pavlovna

During this difficult time for the artist, he was supported by Samoilova, who came from Italy to St. Petersburg. The relatives of Yulia Pavlovna tried to reconcile her with her husband, but on July 23, 1842, a few days before meeting with his wife, Nikolai Samoilov died unexpectedly. After the death of her husband, Countess Samoilova finally left Russia and settled in Italy. Karl Bryullov followed her. The artist lived for a long time with the countess in her villa in Lombardy. The countess also owned an estate in Grousset (France), a palazzo in Milan and a palace on Lake Como. Fragments of correspondence between lovers have been preserved and testify to a deep feeling.

Watercolor by D. Bossi. Samoilova Yulia Pavlovna

In 1845, Yulia Pavlovna decided to part with Bryullov and breaks with him. In 1846 she married the young Italian tenor Peri, who was distinguished by his extraordinary beauty. Having married, Yulia Pavlovna lost her citizenship Russian Empire. New family happiness was short-lived, signor Peri died in the same year in Venice from consumption. The loss of the count's title greatly upset Yulia Pavlovna. Living in the estate of Grousset near Paris and having large means, she married again in 1863 - to the bankrupt French count, diplomat Charles de Mornay. He was a little older than Yulia Pavlovna, she was 60 years old, he was 66. But almost immediately after the wedding, the couple parted ways, having received the title of husband, Yulia Pavlovna annually paid him a huge amount, which negatively affected her condition. By the end of her life, she had lost almost everything.
Yulia Pavlovna died on March 14, 1875 in Paris and, according to her will, was buried in the cemetery, along with her second husband.

K. Bryullov. Self-portrait. 1848

Karl Bryullov went to Madeira in 1849 due to illness. During his life there, he completed a large number of watercolor portraits of his friends and acquaintances (“Riders. Portrait of E. I. Mussar and E. Mussar”, 1849). From 1850 he lived in Italy. He was a member of the Milan and Parma Academies, as well as the Academy of St. Luke in Rome. "Portrait of the archaeologist Michelangelo Lanchi" - Bryullov's last work - became one of the first paintings bought by P. M. Tretyakov for his collection.

K. Bryullov. Riders. Portrait of E. I. Mussard and E. Mussard. 1849

K. Bryullov. Portrait of the archaeologist Michelangelo Lanci.

His health was undermined, as is commonly believed, overwork on the painting of Isaac: according to legend, in a huge cathedral, the maestro exclaimed: “I feel cramped! I would paint the sky!” Karl Pavlovich Bryullov died on June 23, 1852 in the town of Mantsiana near Rome, where he was treated with mineral waters. According to the testimony of the Russian representative in Rome, death occurred three hours after a fit of suffocation. He was buried in the Protestant cemetery of Monte Testaccio.

Tombstone of Karl Bryullov at the Roman Protestant Cemetery.

Monument "Millennium of Russia" in Novgorod.

On the monument of the sculptor M.O. Mikeshin "The Millennium of Russia", erected in Novgorod in 1862, K.P. Bryullov is depicted among 16 figures of writers and artists of the Russian state from ancient times to the middle of the 19th century. A street in Moscow is named after Karl Bryullov. On September 20, 2013, on the island of Madeira (Portugal), in the central park of the city of Funchal, a bronze bust of Karl Bryullov was installed. In the Mikhailovsky Garden, near the Rossi pavilion (St. Petersburg), in 2003, a bust of K.P. Bryullov (original by I.P. Vitali, 1837)

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 Andrey Ivanovich Ivanov fell into royal disfavor and was fired 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. Third canvas - 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 like a magnet creative people. 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 result of this was the creation of the painting " Italian afternoon". 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. rich and Big city was completely buried under giant layers of lava and ash. AT early XIX century in Italy, there was a flowering of interest in archaeological excavations, the search for artifacts and the study 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 Karla Bryullova, she became his calling card. 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 - the heiress of a fabulous fortune, an eccentric person, society 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 way. 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 " 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 famous 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 in 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 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 treated kindly the mighty of the world of this, 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 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 great influence on the development of 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).

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 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 Paccini. 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 a black horse are swift, but they are balanced and solemn thanks to 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. Delicate and bold are the colors of the clothes of Giovannina and Amalicia, who on the balcony meets the graceful rider 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 remnants of ancient city. 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. Big historical paintings Bryullov Karl will not create more. Works and achievements last period lives 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. Already in a month living together 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, reviving, sings beautiful 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. Political changes that have affected the country, he missed, 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 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 bright in plain language. Enter the world created by the painter and be mesmerized by the love and beauty that the master celebrated.

11.12.2016 18:03

Karl Pavlovich Bryullov - a famous painter, draftsman, watercolorist, who lived in the first half of the 19th century. His work brought freshness of vitality, romance, passion for the beauty of the surrounding world into the painting of contemporary academic classicism. World fame to this artist was brought by his work "The Last Day of Pompeii". Our article presents a biography of Karl Bryullov. Briefly talk 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.

The 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 abilities. Moreover, five sons - Ivan, Pavel, Alexander, Fedor and Karl - became artists. The greatest glory, however, fell to the lot of the latter. As a child, Karl was sickly. The biography of Karl Bryullov is marked by the fact that for seven years he hardly got out of bed. Karl Pavlovich suffered from scrofula. Very early, the boy showed great talent for painting. Pavel Ivanovich has been working 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 the drawing task.

Studying 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 bright talent. Karl Pavlovich passionately loved to draw. For this, he sometimes even imitated bouts 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" was his first recognized work. At the heart of her story is Greek myth about a handsome young man who was captivated by his own reflection in the water. In 1819, Bryullov was awarded a gold medal of the second degree for this work. And two years later, for a painting called "The Appearance of Three Angels to Abraham," he was awarded the 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 portraits to order. 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 Polynices" and "Oedipus and Antigone". For this, he was given the opportunity to make 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, together with 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 education, however, his social life was quite eventful. During the time spent in Italy, the artist painted many various works. In the works "Italian Noon" (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 harvest and morning washing, and not 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 the Italian period of his work focused on portrait painting. Among his works, it is necessary to note the portrait of Countess Yu. Samoilova with a black-haired girl, created around 1832, the musician M. Vielgorsky in 1828, Giovanina Paccini (the famous "Horsewoman", in the photo above) in 1832, as well as a self-portrait, written about 1834, a biography of Karl Bryullov was noted. Interesting Facts about the artist and his outstanding works are numerous, as you will see by reading this article to the end.

Return to Russia

Returning to Russia, the artist created in Moscow several works of a more intimate nature. Among them are the portraits of A. Tolstoy, A. Pogorelsky, and I. Vitali at work. Somewhat later, while living in St. Petersburg, Karl Pavlovich created portraits of I. Krylov (in 1841) and V. Zhukovsky (in 1838). It is noteworthy that he completed the last work specifically for the lottery, which was organized to raise funds for the ransom of T. G. Shevchenko from serfdom.

Meeting with Yu. P. Samoilova, a new trip to Italy

At one of the receptions held in 1827, the artist met Yulia Pavlovna Samoilova. This countess became Karl Pavlovich's love, 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 be 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"

For six years, work continued on a painting called "The Last Day of Pompeii." In the process of its creation, the author made many sketches, sketches and studies, and also changed the composition several times. When the picture was presented to the public (it happened in 1833), it caused a real explosion of delight. Before that, none of the works belonging to the Russian school of painting was awarded such great European fame. At the exhibitions in Paris and Milan in 1834, her success was amazing. Bryullov in Italy became an honorary member of several art academies at once, and in the French capital he was awarded the Gold Medal.

How can you explain such a success of this picture? Not only a successful plot, which corresponded to the romantic consciousness of the representatives of that distant era, but also 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 power of the elements, which is presented in the picture, indiscriminately destroys everything around, breaks into the harmony of being. Among the artist's contemporaries, she evoked thoughts of unfulfilled hopes, of a crisis of illusions. This painting brought its creator worldwide fame. Anatoly Demidov, who commissioned the painting, presented it to Nicholas I.

Expedition and its fruits

It was difficult for Bryullov to create something superior to this canvas. After writing it, he fell into a creative crisis. Karl Pavlovich simultaneously set to work on several works, but did not finish any of them. In May 1835, the artist went on the expedition of V.P. Orlov-Davydov, who was heading to Turkey and Greece. On the brig "Themistocles" he came from Athens to Constantinople. The commander of this ship was V. A. Kornilov. His portrait, created in 1835 (pictured above), is one of the best watercolors that marked the biography of Karl Bryullov. His work, impressed by the expedition, was subsequently replenished with a whole series of watercolors, paintings and graphic drawings. Among them should be noted the works of 1835 "The Wounded Greek" and "The Turk Mounting a Horse"; "Turkish woman" (pictured below), created in the period from 1837 to 1839; paintings of 1849 "The Fountain of Bakhchisaray", "Sweet Waters in Constantinople" and "Harbor in Constantinople".

Solemn reception in Odessa

Bryullov in the fall of 1835 was forced to return to Russia by order of the tsar. The first of the Russian cities where he arrived was Odessa. Residents of the city arranged a solemn reception for the artist. M. S. Vorontsov, the governor-general of Odessa, began to work to increase the period of his stay in this city. 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 was an important event in 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 do the job. The courtiers were amazed at the audacity with which the artist treated dignitaries. Bryullov defended creative independence, he managed to make everyone respect himself.

Teaching activity and new works

Karl Bryullov, whose biography and work were known to many by that time, in 1836 began working as a professor at the St. Petersburg Academy of Arts, where he taught young artists. He created an entire "Bryullov school", which included his followers. Many well-known 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 includes 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 personal life of the artist

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 a feeling for a woman named Yulia Samoilova, whom we have already talked about. 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 mayor of Riga. Emilia, it must be said, had a difficult past. She honestly confessed to the artist in connection with her own father. However, pity and love blinded the artist. He hoped that feelings would overcome everything. So the biography of Karl Bryullov was marked by a wedding with Emilia. His personal life, however, was not easy. After 2 months, having survived the claims of the father of his chosen one 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 sick heart bedridden the painter for 7 years. However, during this time he continued to work. Noteworthy is his "Self-portrait", referring to 1848 (presented at the beginning of the article).

On the advice of doctors in April 1849, Bryullov left Russia forever. However, treatment on about. Madeira brought him no relief. The artist created several portraits. The most famous among them is the image of M. Lanchi, dating back to 1851. Nevertheless, Karl Pavlovich did not receive satisfaction from work. In the spring of the following year, 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 described, is one of the greatest Russian artists. His works are known not only in our country, but all over the world. Now you know what is remarkable about such an artist as Bryullov Karl Pavlovich, a biography. The history of his life, you see, is very interesting.

On December 12 (23), 1799, Karl Pavlovich Bryullov was born in St. Petersburg. The Bryullov family was hereditary artistic. Karl's great-grandfather, Georg Bryullov, an ornamental sculptor (from the French Huguenots), arrived in St. Petersburg in 1773. The eldest son Ivan, also a sculptor, had a son, Pavel Ivanovich Bryullov. He, in turn, was an academician of ornamental sculpture, a painter, who later became the father of the most famous artist.

Little Karl grew up as a weak child, about seven years old he fell ill with scrofula, which chained him to bed at that time. His father raised him, despite this in severity. Pavel Ivanovich could deprive his son of breakfast if he did not comply homework by drawing. Karl wanted to be like his father, seeing how hardworking he was, but he was afraid of him, especially after the case when Karl disobeyed and received physical punishment for this. After that, he became deaf in his left ear.

Karl Bryullov had elders and younger brothers. All of them studied at the St. Petersburg Academy of Arts. Karl entered this academy in 1809. Already there, he was distinguished among his peers by his talent and diligent home preparation. Bryullov, thanks to his abilities, was popular among his peers: they turned to him for help. Bryullov was the only one who was allowed to study contrary to a strict training program (initially it was necessary to pass copying, drawing plaster figures and heads, drawing from mannequins and after that drawing from living life). Karl received permission much earlier to draw his own compositions. The first of them - "Genius of Art", made in pastel.
Bryullov's work was influenced by the events that took place in the country. And this is the birth of the Decembrist movement, acts of terror. The authority of Alexander I began to be undermined.

In 1819, Bryullov painted the painting Narcissus Looking into the Water. She shows his passion for drawing from nature. In the same year, he settled in the workshop of his brother Alexander, who was working on the construction of St. Isaac's Cathedral as an assistant to Montferrand.

In 1821, Karl Bryullov graduated from the Academy with the first gold medal. Now he wants to work on his own. At this time, new trends and styles begin to emerge in art. From 1821 to 1823 Bryullov joined the ideas of classicism. He has a special interest in the portrait genre, although at the Academy he was considered a low kind of painting. He draws from nature of his relatives and relatives: the couple of actors Ramazanov, his patron, Secretary of State P.A. Kikin, his old grandmother.

In 1821, the Society for the Encouragement of Artists was opened in St. Petersburg to help artists and promote various areas of art. Karl Bryullov and his brother Alexander became the Society's first pensioners in Italy. On August 16, 1822, they set off for Rome on a Petersburg-Riga trip. It was just before the trip that their original surname "Bryullov" was given a Russian ending - "Bryullov". The journey lasted a year. While traveling, Bryullov works on orders, paints portraits. There he discovers the work of Titian.

On May 2, 1823, the brothers arrived in Rome. Museums in Italy young artist studies the painting of past centuries. Conquered by the grandiose" the school of Athens"Raphael, Karl has been working on a copy of it for four years, eventually striking everyone with his skill.

In 1827, he first met Yulia Samoilova. The Countess became his artistic ideal, inspiration and only love. With her, he would later go to Pompeii.

After 1829, he ceased to refer to mythological subjects in his paintings, and began to work entirely in the portrait genre.
During the years of his stay in Italy, Bryullov created about one hundred and twenty portraits. Bryullov painted in such a way that all his portraits were attractive. And all because he wrote personalities for whom he feels emotional sympathy. The highest achievements of Bryullov in the field of chamber portrait can be called a portrait of Prince G.I. Gagarin, his son G.G. Gagarin, portraits of A.N. Lvov, brother of Alexander. The cycle of self-portraits of the artist should also be attributed to the peaks of this variety of the portrait genre. During the years spent in Italy, Bryullov created several of them.

Bryullov also addressed in his works the life of the child and youthful soul. Bryullov writes his famous Horsewoman. This brilliant picture immediately put him on a par with the largest painters in Europe. She caused a sensation in Rome.

The idea of ​​the fusion of man and nature, their comparison was very characteristic of the romantic direction: the conjugation of periods human life over the course of the day or with the seasons attracted many of Bryullov's contemporaries. Then appears "Italian morning", which brought him wide popularity. The picture conquered everyone. It was presented to Alexander I as a gift. "Italian in the morning" is followed by "Italian noon", which was the result of many years of searching for the artist. It depicted an already mature woman, who was distinguished by an unprecedented vitality.

But the courage and novelty of the idea caused a unanimous rebuff. Everyone expressed censure of Bryullov's new work: the Society for the Encouragement of Artists and the elder brother Fyodor.

However, Bryullov has to make excuses, because he was not going to give up: "The correct forms of all are similar to each other," that is, submission to a single canon leads to the similarity of the characters of the most diverse works in content.

On May 28, 1829, Bryullov sent a letter to St. Petersburg, in which he politely refused the further pension of the Society. Finally, he is free in his creations. He earns enough and feels confident. But main reason, which forced him to break with society, most likely lay in the fact that for two years already, since the summer of 1827, when he first visited the excavations of Pompeii, grand design monumental historical picture. The story of the disaster captured all his thoughts. First, he creates a few sketches, and then proceeds to the canvas.

To write the canvas, he uses archaeological excavations, letters from eyewitnesses, his observations in the place. He will depict some of the figures in the very poses that have preserved the voids formed in the solidified lava in place of the incinerated bodies.

Bryullov spent a lot of effort and energy on this work. In total, it took 6 long years to work on "The Last Day of Pompeii". Its size reached 30 meters.
After placing the picture came the real triumph of Bryullov. Many people came to see the masterpiece. Then the canvas was brought to Milan. And again crowds of nations, glory, recognition. Bryullov began to be recognized on the street. The artist continues to work closely, write to order. At this time, Bryullov receives an offer from V.P. Davydov to take part in a scientific and educational expedition to Asia Minor and the Ionian Islands. During this trip in 1835, Bryullov creates a series of images of Greek rebels - a portrait of their leader, the insurgent Theodore Kolokotroni, compositions "Wounded Greek", "Greek on the Rock", "Greek Insurgent".

The nature of Greece struck Bryullov. Previously, he was not fascinated by her, and now her landscapes appear in the artist's works. The brightest of them: "Delphian Valley", "Istomskaya Valley before a thunderstorm" and "Road to Shinano after a thunderstorm". On the expedition, Bryullov suddenly fell ill and had to fall behind the main movement. In the autumn of 1835, on December 25, he was in Moscow for the first time in his life. Well, in his native land, he was also waiting for a triumph and popular recognition. Bryullov's painting made a revolution in Russian artistic life.

At this time, two meetings took place that had a great influence on the work and life of Bryullov. These are meetings with S. Pushkin and Tropinin V.A. Now he completely devotes himself to the portrait genre, and specifically to the Russian portrait. Tropinin dedicated him to this.

With Pushkin, they immediately agreed and fell in love with each other. Their friendship continued until the death of the poet.

Upon his return to St. Petersburg, Bryullov began working as a professor of the history class at the Academy. The Imperial Academy of Arts elevated him to the rank of junior (2nd degree) professor. To receive the title of senior professor, he had to paint a large picture on a theme approved by the Academy. Apparently, Bryullov was puzzled by this turn of affairs. Apparently, "The Last Day of Pompeii" was not significant enough to receive the title of senior professor. Such was the highest respect of Tsar Nicholas I.

Since 1836, Bryullov began to work on the order of Nicholas I on a huge painting "The Siege of Pskov by the Polish King Stefan Batory in 1581", which does not correspond to real historical events. All these pressures, guardianship were hated by Bryullov. In 1843, he would never touch the painting again, leaving it unfinished.

This marked the beginning of the painful relationship between the tsar and Karl Bryullov. Bryullov strove for monumental painting, for fresco. In 1837, he expressed a desire to paint the walls of the palace with frescoes on the themes of the history of Russia and turned to the tsar with a request. But got rejected. Everyone was amazed at the manner with which he treated the most senior persons, and he was quite bold. Bryullov was moving towards independence and was looking for any way to this.
Bryullov continues to work in the portrait direction.

Love came to the artist at the age of 40. He met the gifted pianist Emilia Timm, who was a student of Chopin himself and the daughter of the mayor of Riga. In the portrait of Bryullov, she is depicted as subtly beautiful girl from which breathes youthful freshness. But Emilia had a bitter past. In fact, under this beauty, a dirty connection with her own father was hidden, and she honestly confessed to Karl in this sin. But Bryullov, blinded by love for her, was able to forgive. They got married (1839)

In 1839, Karl Pavlovich takes up work on a new portrait of Yulia Samoilova. She comes to St. Petersburg during the most difficult period for Bryullov: after his divorce from his wife. Having gone through all the scandals in society, a lot of insults from Emilia's father, on December 21, 1839, their marriage was annulled, as they say, because of the difference in age and the "nervous excitability" of the artist. Emilia left Bryullov only pain and suffering. Bryullov feels lost and alone. Samoilova supports him, provides care and tenderness.

The second name of the portrait is "Masquerade". The content of this portrait is the world of lies and the image of honest, worthy Samoilova which is above all this.
Soon Samoilova leaves Russia. Bryullov will not see her again.

In 1847, a severe cold, rheumatism and a sick heart confined the artist to bed for seven long months. He was disappointed in his work, seeing how much he did not have time to do. For four years he worked on the murals of St. Isaac's Cathedral, but due to illness, another artist finished the work on his paintings. But most of all, he was disappointed that, being a great Russian painter, he did not create a single large-scale canvas on the material of Russian history. During this period, he writes his best self-portrait, written in 1848. Illness forced me to retire. Solitude led to concentrated reflection. Self-portrait - the result of nearly half a century of life. The result of creative searches. Summary of thoughts. Beneath the external immobility lies the intense work of thought. Eyes are burning feverishly. Eyebrows, tensely drawn into deep folds, also express the passionate, painful work of the mind. Thinking finds here such sharpened forms of expression that it itself is perceived as an active action.

On April 27, 1849, Bryullov went abroad to recover from his illness. On the journey, he does not stop working, paints portraits - the son-in-law of Nicholas I, Duke M. of Leuchtenberg and those Russians who made up the retinue of the duke. But he does not get job satisfaction.

On May 23, 1850, Bryullov went to Spain. He visited Barcelona, ​​Madrid, Cadiz, Seville. During the trip, I almost did not draw at all. Just watched. He looked eagerly, as in his youth. Only in Rome did he write several works. Two recent years lives spent in Italy turned out to be extraordinarily fruitful in the work of Bryullov. In Rome, as is known, Bryullov had a studio on Via Corso. He begins to work in a new manner, it is clear from his works that this is already a different Bryullov. Bryullov meets Angelo Tittoni, an ally of Garibaldi, a participant in the 1848 revolution. Almost two years before his death, he is in close contact with his family.

He paints portraits of Angelo Tittoni, his Carbonari brothers, his daughter Juliet and his other relatives. "Portrait of an abbot" - in this gallery of images, Bryullov captures the face of a suffering, oppressed, but unconquered fighting Italy. An innovation in the work of Bryullov of those years is an appeal to dramatic situation taken from Everyday life. The painting "Procession of the Blind in Barcelona" is located in Milan. One can see a number of new properties that make it completely different from the artist's previous genre scenes. The latest works of Karl Pavlovich Bryullov are portraits, compositions on political and dramatic contemporary themes.

On June 23, 1852, Bryullov died in the town of Marciano near Rome. He never managed to return to his homeland. The artist was buried in the cemetery of Monte Testaccio, the Roman cemetery for non-Catholic foreigners Testaccio.