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Aiming for big historical topics, in 1830, having visited the excavation site of an ancient Roman city destroyed by the eruption of Vesuvius, Bryullov began work on the painting “The Last Day of Pompeii.” The multi-figure tragic canvas becomes one of the “disaster paintings” characteristic of romanticism.

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K. Bryullov “The Last Day of Pompeii”

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You brought peace trophies
With you into your father's canopy -
And it became “The Last Day of Pompeii” -
First day for the Russian brush.

Bryullov's painting was destined to revolutionize Russian artistic life. For the first time, new spectators flocked to the academic halls - artisans, merchants, and craftsmen. And after the exhibition closed, articles devoted to Pompeii were published in the press. The public read the articles and became involved in debates about the vocation of an artist and the problems of creativity. Gradually, simple curiosity grew into a spiritual need among broad sections of Russian society.

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Upon his return to Russia, an important area of ​​Bryullov’s creativity began to be monumental design projects, where he managed to organically combine the talents of a decorator and a playwright (sketches for paintings at the Pulkovo Observatory, 1839–1845; sketches and sketches of angels and saints for St. Isaac’s Cathedral.

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The artist returned to his homeland in 1835 as a living classic. Having visited Greece and Turkey along the way, Bryullov creates a number of poetic images of the Eastern Mediterranean

Village of St. Rocca near Corfu town

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• Family scene in Italy. 1830 Watercolor
• Interrupted date 1820 WATERCOLOR

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Karl Bryullov was a very popular portrait painter of his time. He has portraits where a person is presented at full height, with numerous accessories depicted, and portraits that are simpler in design, full-length, side-by-side. He also left behind many excellent portraits, executed in pencil and watercolor.

Portrait of Yulia Samoilova

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K. Bryullov “Portrait of Alexei Tolstoy”

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Russian Empress Alexandra Feodorovna 1832

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Despite all the differences in models, the vast majority of Bryullov’s portraits have something in common, besides the fact that they were created by the hand of one master. First of all, the heroes of Bryullov’s portraits are almost always attractive. This is explained by the fact that most often these people are extraordinary, bright personalities, and by the fact that Bryullov avoided painting portraits of those who did not arouse his spiritual sympathy, stubbornly, under all sorts of pretexts, avoiding orders of this kind.

His heroes truly captivate: some with their beauty, others with the tension of their inner, intellectual life. And almost everything is full of vitality. In the life of every person, even those who do not shine with special talents, there are moments of take-off, inner uplift. These are the moments that Bryullov appreciates in the fleeting change of states of the human soul.

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Walk

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After an illness, to improve his health, Bryullov went abroad on April 27, 1849. He leaves, hoping to return, not knowing that three years later death will overtake him in a foreign land. As he once did in his youth, Bryullov travels to the healing southern regions along a long, roundabout route: through Belgium and England. Everywhere he is greeted as a European celebrity; local artists, having learned of his arrival, come to bow to him. The rector and professors of the Brussels Academy come to his hotel in full dress, with orders, as if for a gala reception

When in England one evening the Russian artist visited the French painter Glier, whom he knew from Italy, everyone present immediately stood up, like students in front of a teacher, silence reigned, the artists respectfully listened to Bryullov. From England, Bryullov goes by steamship to Lisbon, and from there to the island of Madeira, the air of which was considered healing for those suffering from heart disease. The artist will spend the whole year in the main city of the island, Funjal. He works a lot. He paints portraits of Nicholas I's son-in-law, Duke M. of Leuchtenberg, who also came to Madeira to improve his health, and of those Russians who made up the Duke's retinue.

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On May 3, 1850, Bryullov went to Spain. He visited Barcelona, ​​Madrid, Cadiz, Seville. During the trip I hardly drew at all. I just looked. He looked eagerly, as in his youth. Watched daily life Spain, which is not similar to the life of any of European countries. And most importantly, he absorbed impressions of the art of Spain. I spent hours standing by the works of my beloved Velazquez. And, judging by some of the works created upon his arrival in Rome, he was quite captivated by the work of a master whom he had known very little until then - F. Goya.

Karl Pavlovich Bryullov Presentation to extracurricular activity on the topic: “Picture Gallery” teacher primary classes GSOSH7 Kostenko L.E.

Karl Bryullov was born on December 23, 1799 in St. Petersburg, in the family of the famous woodcarver and painter - miniaturist Pavel Ivanovich Bryullo. Karl had 5 brothers who went through the Academy of Arts. Karl grew up as a very sick child and practically did not get out of bed until he was 7 years old. However, his father demanded that he draw the required number of human figures and horses every day. When he studied at the Academy of Arts, he had no equal among his classmates - he collected handfuls of awards and graduated from the Academy with a first-degree certificate. Bryullov spent more than 12 years in Italy, where he established himself as an original artist.

“Italian Afternoon”, 1827 State Russian Museum, St. Petersburg A simple Italian woman posed for the artist, striking him with her cheerfulness and the magical sparkle of her wide-set eyes. Bryullov painted the picture in a real garden, illuminated by the sun, and achieved a stunning chiaroscuro effect (red shawl, bunch of grapes).

“Portrait of Count Alexei Konstantinovich Tolstoy,” 1836 Alexei Tolstoy, beloved nephew and pupil of Count A. Perovsky. It was for him that the fairy tale “The Black Hen, or the Underground Inhabitants” was written. The young aristocrat posed for him with the peculiar attributes of the nobility - a hunting rifle, a game bag and a faithful purebred dog, ready to find wounded game at the first sign of the owner.

“Self-Portrait”, 1848 State Tretyakov Gallery, Moscow During his life, Bryullov created many self-portraits. But he wrote most of them in best years, when fame turned his head. This same self-portrait was painted when the artist was ill and forced to lie in bed for 7 months. Fatigue and loneliness are the mood of this poignant picture.

“Horsewoman”, 1832 State Tretyakov Gallery, Moscow This ceremonial portrait glorifies youth and beauty. It seems that the rider is about to soar into the skies on her black horse. Delight and adoration froze in the little girl’s eyes. The dog spins joyfully under the horse's feet, adding dynamics to the composition. The scarlet color always attracted Bryullov. The viewer's eye, like a magnet, is drawn to the scarlet spot of the curtain.

“The Last Day of Pompeii”, 1833 State Russian Museum, St. Petersburg The theme of the painting was the eruption of Vesuvius, which covered the ancient Roman city of Pompeii along with its two thousand population. Bryullov, working on the painting, seemed to feel like an ancient Roman, so he made himself the hero of the canvas. The artist with a sketchbook on his head is his self-portrait.

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1. Introduction In the development of art, in the nature and characteristics of its individual directions, a large role belongs to creative individuals artists whom history has called great or remarkable. These people, who included many famous artists, primarily the name of Karl Pavlovich Bryullov, combined talent and skill with scientific thinking in their work. He strove to approach art not intuitively, but consciously, analyzing its laws, its capabilities, and ways of realizing his ideas in it. And often his work as a painter turned into a laboratory in which he comprehended and formed the method of his art.

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2. Birth of Karl Bryullov Karl Pavlovich was born in 1799 in St. Petersburg, in a family where art classes were passed on from generation to generation. For the artist’s father, a gifted sculptor, did such a decision on the children’s fate seem immutable? All four of his sons undergo academic training: Alexander becomes a famous architect, Fyodor, Ivan, who died early, and Karl become painters. From the very early years the boy knew that he had to take up drawing, that he would have to prepare for the Academy and, ultimately, become an artist. P. I. Bryullov associated purposefulness in raising his sons with the features of a purely artisanal attitude towards art.

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3. Bryullov’s genre. K. P. Bryullov went through a school that can be called classic for its time in implementing the trends and tasks that it set for itself. Approaching painting and, in particular, composition as a specific method of understanding reality, he believed that it was necessary to reconsider the already established laws of art and believe them in kind. Such a revolution from within led to the fact that any plot could and should be solved as a real scene. The artist was only required to find those threads that connect her with nature. And in this Bryullov was a direct successor of his teacher.

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"Italian Afternoon", 1827, Russian Museum

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4. Study in Italy. Having left for Italy as a pensioner of the Society for the Encouragement of the Arts, he lived and worked there in 1823-35. The impressions of the “midday region”, its nature and art helped the young Bryullov to transform the experience of academic classicism, educational copying of antiques into living images full of sensual charm. Already the artist's early paintings are characterized by masterly drawing and composition, emotional, warm coloring ("Italian Afternoon", 1827, Russian Museum; "Bathsheba", 1832, Tretyakov Gallery). He also acts as a master of secular portraiture, turning a natural motif into an example of heavenly idyllic harmony (“Horsewoman (G. and A. Paccini)”, 1832, ibid.).

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"Horsewoman (G. and A. Paccini)", 1832, Tretyakov Gallery

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During his first years in Italy, Bryullov did not think about creating a large painting, obligatory for every pensioner, and did not even look for a theme for it. Like all improved artists, he draws antique sculpture, a nude model, writes landscape sketches, dozens of portraits and sketches, united, regardless of the subject, by the search for “naturalness,” when constant observation of life and subtle knowledge of it made it possible to impart convincingness and expressiveness to any scene. He tries to borrow both the model and the scene itself, and its pictorial characteristics directly from nature.

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For Bryullov, the artist’s right to “deviate from the conventional beauty of forms,” in his own words, for the sake of “pure naturalness,” which he considered the true content of art, becomes undeniable. Among many other paintings, the artist paints “Italian Morning” (1823, location unknown), a girl washing herself at a fountain among sun-drenched foliage, and deserves the reproaches of many for deviating from ideal beauty.

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5. “The Last Day of Pompeii” At the end of the 20s of the 19th century, artistic Europe was captivated by the discovery of Pompeii, a small Roman town that became in 79 AD. e. victim of the eruption of Vesuvius. The almost instantaneous death of this city under flows of hot lava preserved the environment of city life intact - streets, buildings, things, even people - just as the disaster overtook them. Bryullov comes to Pompeii, and the tragedy that once unfolded vividly appears before his eyes. Here, on the dilapidated streets of what was once a noisy city, the idea is born.” Last day Pompeii".

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The result is a majestic “catastrophe painting” (completed in 1833 and stored in the Russian Museum), which iconographically joins a number of works of similar spirit by the masters of romanticism (T. Gericault, W. Turner, etc.) - works that emerged as , as a series of political upheavals caused by the initial seismic impulse of the Great French Revolution, covers different countries Europe.

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Presentation on the MHC on the topic: “Creativity and life of K.P. Bryullov.”

Completed by: Students of class 11 “B” Aliyeva Zeinab Titova Natalya

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Chronicle of the life and work of K. P. Bryullov (1799-1852)

December 12 (23), 1799 - born in St. Petersburg, on Vasilievsky Island, in the family of an academician of ornamental sculpture, a third generation sculptor, a descendant of immigrants from France, Pavel Ivanovich Bryullov, from his second marriage. Mother - Maria Ivanovna, nee Schroeder, daughter of the court gardener. From his first marriage, Pavel Ivanovich had a son, Fyodor, from his second, sons Alexander, Karl, Pavel, Ivan and daughters Maria, Ulyana (Julia), who was married to the famous watercolorist P. F. Sokolov.

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October 2, 1809 - admitted together with his brother Alexander “without running” to the St. Petersburg Academy of Arts. December 20, 1813 - received a second silver medal for the drawing “Two Models” (GRM). December 22, 1817 - received a silver medal of the first dignity for the drawing "Sitters" (Tretyakov Gallery). 1818 - second gold medal for the painting in the program “Ulysses and Nausicaa” (location unknown).

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1819 - second gold medal for the painting “Narcissus” (Russian Russian Museum).

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1821 - the first gold medal for the painting “The Appearance of Three Angels to Abraham at the Oak of Mamre” (Russian Russian Museum).

autumn - solemn graduation from the Academy of Arts with a first degree certificate and a sword. Bryullov refuses the proposed retirement within the walls of the Academy of Arts. Brothers Alexander and Karl settle in a wooden temporary workshop near St. Isaac's Cathedral, which is under construction.

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1823 - in Munich, due to Alexander’s illness, the brothers were delayed for 4 months. K. Bryullov paints portraits of family members of the Bavarian Minister of Internal Affairs, Minister of Finance and others dignitaries(location unknown), attends classes at the Academy of Arts. May 2 - The Bryullovs arrive in Rome, visiting Venice, Padua, Verona, Mantua and Bologna. K. Bryullov paints “Self-Portrait”, the painting “Italian Morning”.

1821-1822 - K. Bryullov paints portraits of P. A. Kikin, one of the founders of the Society for the Encouragement of Artists, and his wife (both - Tretyakov Gallery), graphic portraits of his daughter. August 16, 1822 - Alexander and Karl Bryullov are sent to Italy for three years with funds from the Society for the Encouragement of Artists. They go there through Riga, Memel, Konigsberg, Berlin, Dresden, where they stay for two months.

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1823-1827 - working on a life-size copy of Raphael's fresco "The School of Athens" in the Vatican, drawings and paintings on mythological themes, subjects from modern Italian life. Acquaintance with Countess Yu. P. Samoilova 1824 - acquaintance with the family of princes Gagarins. Bryullov paints portraits of members of the Gagarin family, portraits of his brother and others. Drawings and sketches on biblical and mythological themes, allegories - “Daphnis and Chloe”, “Numa Pompilius”, “Bacchanalia”, “Hope that feeds love”, “Blessing of the Children” (commissioned by OPH) and others..

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1825 - “Italian Morning” is exhibited at an exhibition at the Academy of Arts in St. Petersburg. 1826 - “Italian Morning” is exhibited at an exhibition in the OPH.

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1827 - first visit to Pompeii. Start of work on the topic "The Last Day of Pompeii". Painting "Girl picking grapes in the vicinity of Naples" (Russian Museum). The artist receives the Order of St. Stanislav IV degree.

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1828 - work on the theme "Pompeii" Portrait of M. F. Vielgorsky. Beginning of work on the portrait of the Image for the Royal Doors of the Church of the Russian Embassy in Rome. Not earlier than 1828 - the order of the large painting “The Last Day of Pompeii” by A. N. Demidov (the original contract obligated Bryullov to complete the work by the end of 1830).

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1829 - work on the theme “The Last Day of Pompeii”, a portrait of Grand Duchess Elena Pavlovna, works on mythological themes, “Portrait of D. Marini”.

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1830 - completion of the portrait of Grand Duchess Elena Pavlovna with her daughter (Russian Museum). Portraits in oil and watercolor. Addressing the Russian theme. Work on the theme "The Last Day of Pompeii".

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1831 - work on the large canvas “The Last Day of Pompeii”. Start of work on a large portrait of A. N. Demidov San Donato.

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1832 - work on the large canvas “The Last Day of Pompeii”, “Bathsheba” (Tretyakov Gallery) Beginning of work on the portrait of Countess Yu. P. Samoilova with her adopted daughter Giovannina. “Horsewoman” is a portrait of Giovannina and Amacilia Pacini, adopted daughters of Countess Yu P Samoilova (Tretyakov Gallery).

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1833 autumn - completion of work on “The Last Day of Pompeii”. The painting is exhibited in Rome and Milan. The artist's resounding success. 1834 July - “The Last Day of Pompeii” arrives by ship via Kronstadt to St. Petersburg, exhibited in the Hermitage, in the former workshop of J. Doe. 1834 October - “The Last Day of Pompeii” is exhibited at the Academy of Arts. The enormous impression made on St. Petersburg society results in numerous reviews - in poetry and prose. News of the film even reaches the Decembrists imprisoned in Siberia. The Academy of Arts awards Bryullov the title of honorary free associate and the right to wear the uniform of a senior professor. The artist receives the Order of St. Anna III degree. 1834 March - "The Last Day of Pompeii" is exhibited at the Salon in Paris. The author receives the first gold medal. The painting is sent on a ship to St. Petersburg.

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March 1834 - Bryullov lives in Milan. At the villa of Countess Yu. P. Samoilova in Como, a portrait of her with her adopted daughter Giovannina completes the picture. "The Death of Inessa de Castro" (Russian Museum), "Self-Portrait" (Russian Museum).

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1835 - N.V. Gogol’s article “The Last Day of Pompeii” was published. In Italy, Bryullov is working on “Portrait of the Author and Baroness Meller-Zakomelskaya in a Boat” (Russian Museum).

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1836 - Bryullov creates drawings on the theme Patriotic War 1812, preparatory work for the portrait of the sculptor I. P. Vitali sculpting a bust of Bryullov. Painting “Fortune Svetlana”.

Portrait of the hero of the war of 1812 Vasily Perovsky

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June 11 - Bryullov is honored at the Academy of Arts, with the laying of a wreath of laurel and myrtle on him. Bryullov receives the title of professor of the 2nd degree and leadership of the history class. June - Bryullov’s meeting with Emperor Nicholas I and Empress Alexandra Feodorovna. The artist refuses to paint the theme “The Capture of Kazan” proposed by the emperor and asks permission to paint “The Siege of Pskov.” Accompanied by F. G. Solntsev, he travels to Pskov for a week to study the scene.

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October 31 - K. P. Bryullov, as a junior professor at the Academy of Arts, receives his first students, including A. N. Mokritsky, A. A. Agin, Ya. N. Avnatamov, V. Demidov. Autumn - portrait of N.V. Kukolnik (Tretyakov Gallery). Publication of the book "Essays on Constantinople" by K. M. Basili with illustrations.

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April 2 - Bryullov begins work on a portrait of V. A. Zhukovsky, intended for the release of T. G. Shevchenko. Portrait of Adjutant General V. A. Perovsky (Tretyakov Gallery). Bryullov makes sketches for the production of “Ruslan and Lyudmila” by M. I. Glinka, based on which the costumes and scenery for Act IV - “Chernomor Gardens” were subsequently made. Portrait of A.K. Demidova. Summer - at the invitation of Nicholas I, Bryullov settles in Peterhof to paint portraits of members of the imperial family.

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