Karl Pavlovich Bryullov (1799 - 1852) - the great Karl - so even during his lifetime, the contemporaries of the painter dignified. His name was put on a par with the names of the best portrait painters of Flanders. And Emperor Nicholas I was so enraptured by one of his works that he granted him a ring with a diamond.
French roots
The profession of artists in the Bryullo family was hereditary: 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 the maiden name Schroeder, coming from a Russified German family.
Years of study (1809 - 1821)
Karl Bryullov studied at the Academy for twelve years . His biography during these years, thanks to his unique talent and serious home schooling, was more than successful: he stood out sharply among classmates. Education was based on the principles of classicism. The sequence of instruction, now lost, was unshakable. They came to drawing living nature after a series of long stages of training: copying originals (still lifes and figured compositions), drawing from plaster casts, then mannequins in draperies “for people”.
Karl was constantly ahead of his peers. The young man sincerely loved classicism, in which the real was subject to the ideal, where there was no place for unrest and the bustle of the world. But living life with its political passions and the beauty of living nature invaded the idealist world. And in his first film, Narcissus (1819), he went beyond the conditional framework that was set by the Academy. And for the competitive picture, which he performed, observing all the canons, Bryullov received a gold medal.
Trip to Italy
The recently created Society for the Encouragement of Artists sends two brothers, Carl and Alexander, to Rome. Here is a portrait of Alexander Bryullov in those years.
He was not only beautiful, but also possessed great abilities for drawing and architecture. In St. Petersburg, he built the building of the
Pulkovo Observatory and not only. This first visit to a country where the whole atmosphere is saturated with art and beauty, will forever enter the souls of the brothers. At this time, by 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 the Gothic art and creativity of Titian, is amazed and admires them. But gradually the ideas of romanticism, with which the 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 Rafael and Leonardo, but also notes that the country is restless. The liberation movement is ripening in it. Freedom is what attracts all the people of the country. Bryullov cannot complete a single picture at this time - everything he sees in his head does not fit into a harmonious system. But then he does about 120 portraits. All his models, without exception, are beautiful. For example, “Portrait of E.P. Gagarina with sons Eugene, Leo and Theophilus ”(1824).
Already in this early work, one can see both the brilliant gift of the colorist and the skill that the Academy gave him. This intimate
family portrait of the family with which the artist was friends immediately provokes sympathy. During these years, having become a popular painter, receiving many orders, Karl Bryullov, whose biography makes a new turn, breaks with the Society for the Encouragement of Artists and begins to write independent works. He is free to choose themes, he can create a new work and sell it. Bryullov became an independent person.
Front portrait (1832)
This is a paired portrait painting, which depicts Giovannina and Amacilia Pacchini. It is known as the painting "The Horsewoman." The Italians immediately started talking about a young Russian painter. Enthusiastic Italian critics praised everything in the picture - the virtuosity with which it was written, a delicate and rich palette. They were struck by the natural grace of movements and postures, plastic completeness. Many of them believed that the painting “The Horsewoman” was marked by genius.
The movements of the model on the black horse are swift, but they are balanced and solemn thanks to the compositional construction. The figure of Giovannina, confidently sitting in the saddle, is in the center of attention of the artist, who is subdued by her regal majesty, the ability to cope with a jagged horse that cannot recover after a walk and rears up. The black satin horse and the white fluffy airy skirt of the model, which lies in elegant folds, are contrasting. Gentle and bold the color of the clothes of Giovannina and Amalicia, who on the balcony admires the graceful horsewoman.
The whole world is beautiful under the brush of a master. Little Amalicia is called to overshadow the confidence of horse control and the calmness of her sister. Amalice looks at the magnificent Amazon gullibly, gently, amazed. Two small dogs also meet a young adorable rider. On a shaggy doggie a collar with the inscription "Samoilova", written in Latin. The charm of youth, its courageous tenderness and confidence we see in this portrait. It’s impossible not to place next to the portrait of the customer Y. Samoilova, who always inspired the painter.
He is astounding and worthy of the highest praise of Bryullov's skill.
Historical picture
In parallel with the creation of portraits, watercolors, small Italian landscapes, Karl Bryullov, whose works combined elements of classicism, realism and baroque, conceived in 1827 a large, grandiose historical canvas and in 1830 began to implement it. The fact is, the artist visited the excavations in Pompeii. He was stunned by the degree to which the remains of the ancient city have been preserved. Pompeii was alive, lacking only merchants in shops, residents who go about their business on the streets, resting at home or sitting in pubs.
The idea of the picture "The Last Day of Pompeii" Karl Bryullov hatched for three years. At this time, he read a lot of eyewitnesses. The aesthetics of romanticism, which the artist was now filled with, required authenticity. To some extent, he was influenced by his friendship with the composer Paccini, who wrote the opera The Last Day of Pompeii. Karl Bryullov heard her, and she also presented him food for thought and imagination. In addition, he, deifying Raphael, was inspired by his multi-figure frescoes in the Vatican. The plasticity of his characters, the rhythm of the organization of movement and various gestures - this is Raphael's school. However, the painter will use the color that he will use in 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 write three times.
Disaster day
The greatness of the fatal moment is reflected on the canvas. This last black and red day is terrible.
He is completely engulfed in the flames of fires, pouring black ash, the roar of buildings that are crumbling, cries for help from miserable rushing people to whom their gods did not send protection. Yes, their gods themselves fall, unable to withstand the wrath of the earth and the raging volcano. In the foreground, the mother hugs two daughters and sees with horror that protection is nowhere to wait. Their gods collapsed. Nearby, the sons carry an elderly father, and a young man supports a 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, in whose memory the bloody end of this night will remain.
The figures are simply sculptural. Nobody still believes that these are their last fatal minutes. But all-good gods called them to this high, terrible sight. People will drink the full cup of suffering that was sent to them. Bryullov put on in a classic form the experiences that people in the picture experience. All the shades of their feelings that the artist expressed are pure romanticism.
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 responded to it. Gogol, Zhukovsky, Lermontov, Belinsky, Kuchelbecker - all highly appreciate this work. And the people went to the exhibition - the townspeople, artisans, artisans, merchants. And Emperor Nicholas I at a personal audience that will take place later, will crown the head of the painter with a wreath of laurel.
Homecoming
After creating a magnificent canvas at the request of Emperor Nicholas I, the artist Karl Bryullov, having visited Greece, Constantinople and Moscow, returned to Petersburg. But dear, he fell ill, and the return lasted almost three years. On the way, the painter worked a lot. So in 1835 he painted 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. Now he intuitively chose a heroic personality. One way or another, he was already in Moscow in 1835. There he had a personal acquaintance with A.S. Pushkin and V.A. Tropinin, our outstanding portrait painter, who came out of the serfs. Two artists appreciated each other's talents and made good friends.
In Petersburg (1836 - 1849)
At this time, he taught at the Academy and painted many portraits. We are familiar with his works N.V. Kukolnik, V.A. Zhukovsky, I.A. Krylov is all contemporaries of Karl Bryullov. Their portraits will be painted by an artist. Will make an illustration for Svetlana V.A. Zhukovsky. Large historical canvases will no longer be created by Karl Bryullov. The works and achievements of the last period of life lie in the field of portraiture. Nestor Kukolnik - the man whom the artist loved and considered his close friend, even in the 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 inconsistencies and reflections. Romantic Bryullov transferred to the canvas the atmosphere of doubt and disappointment - the spirit of the times. The life-affirming festive Bryullov died. In the portrait we see what is difficult to convey in words, this is the contradictions that are inherent in the character of the puppeteer. It contains shyness, and swagger, and some cynicism. The model looks directly at the viewer, but the figure is bent under the weight of timelessness. A wall encloses it 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. Within a month, the joint life of the spouses was impossible. A lengthy divorce process followed. Karl Bryullov, whose biography fluctuated so sharply, was rejected by society. The consolation for him was a meeting with Julia Samoilova, who came from Italy on matters related to the inheritance. For himself, he writes her ceremonial portrait.
And again he sees the ideal of a Woman worthy of a place on a pedestal. Karl Pavlovich Bryullov again, reviving, singing a beautiful man. The power of the countess’s spirit is also manifested in the external monumentality of the columns and draperies, the most cast figure of Samoilova, which appears before the audience as a beautiful antique sculpture. The artist again sees beauty and spiritual strength. In the world of masquerade, Samoilova threw off the mask and showed the world a free personality.
Karl Bryullov: self-portrait (1848)
Working on the murals of St. Isaac's Cathedral, which was still under construction, Bryullov became seriously ill. He received rheumatism, which gave heart complications. He was prescribed bed rest and complete rest. Communication was reduced to a minimum - only doctors visited him.
And now an elderly artist, he was soon fifty, after an illness, when he lay down alone for more than six months, he looked at himself in the mirror with bitter disappointment. He is weak, his relaxed posture speaks of this, his hand, on which the veins are swollen, hangs motionless. But there is no peace. The picture summarizes the life. Eyebrows are reduced, folds and wrinkles between them show the sharpened work of thought. He missed the political changes that affected the country, and the artist, as he thinks, is going the wrong way. He is infinitely tired, this noble and exalted man. High is the strength of his spirit, 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
Bryullov will spend the last years of his life (1849 - 1852) according to the recommendations of doctors abroad. He is treated on the island of Madeira, then moves to Italy. He lives in the family of ally Garibaldi. The ideas of the struggle for freedom were picked up by the artist. Again, despite heart failure, he works a lot. Academic canons are pushed to the side. The enthusiasm that swept the country is shown in the portrait of Juliet Tittoni, which is depicted in armor. This is the Italian Joan of Arc.
The artist creates a gallery of images of fighting Italy. Belief in himself and his strength returned to him. But he cannot know how little time is allotted to him. Having traveled a long way of engaging in academism in his youth, moving on to a romantic perception of the world and joyful chanting of Beauty, and in later years approaching realism, Karl Bryullov, in short, having done unusually much for Russian art, especially in the field of portraiture, did not manage to reveal his whole creative potential.
His heart refused, 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.
To the extent possible, the article describes the paintings of Karl Bryullov. His creations speak with us in a bright accessible language. Enter the world created by the painter, and you will be fascinated by the love and beauty that the master glorified.