Artist Karl Bryullov: biography, personal life, creativity

Karl Pavlovich Bryullov (1799 - 1852) - the greatKarl - so still during his lifetime was called contemporaries painter. His name was put on a par with the names of the best portrait painters of Flanders. And Emperor Nicholas I came to such admiration from one of his works that he awarded him a ring with a diamond.

French roots

The profession of artists in the Briullo family washereditary: great-grandfather, grandfather, father - all were in the shop of artists. Father, academician and teacher, was the first teacher of his children. The mother of the future painter had the maiden name Schroeder, coming from the Russified German family.

Years of study (1809 - 1821)

For twelve years he studied at the Academy Karl Bryullov. His biography in those years, thanks to his unique talent and serious home study, was more than happy: he stood out among classmates. Education was based on the principles of classicism. The sequence of training, now lost, was unshakable. To drawing living nature came after a number of long stages of training: copying of originals (still lifes and figured compositions), drawing from plaster casts, then - mannequins in draperies "for people".

Karl was always ahead of his peers. The boy genuinely loved classicism, in which the real was subordinated to the ideal, where there was no room for excitement and hectic world. But the living life with her political passions and the beauty of living nature invaded the world of the idealist. And in his first film "Narcissus" (1819) he went beyond the conditional framework that was asked by the Academy. And for the competitive picture, which he fulfilled, observing all the canons, Briullov received a gold medal.

Trip to Italy

The newly created Society for the Encouragement of Artists sends two brothers, Charles and Alexander, to Rome. Before you a portrait of Alexander Bryullov in those years.

He was not only handsome, but possessed greatability to draw 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 soul of the brothers. At this time, by the permission of the emperor, their surname is Russified and now it's not Briullo, but Briullov. Meanwhile, on the way, Karl Bryullov, whose biography gives him encounters with Gothic art and Titian's work, is amazed and admired by them. But gradually the idea of ​​romanticism, with which the Russians are not yet familiar, begin to worry him.

Florence and, finally, Rome completely stunned andcaptivated the novice artist. Most of all he admires Raphael and Leonardo, but also notices that the country is uneasy. In it, the liberation movement is ripening. Freedom is what attracts all the people of the country. No one picture at this time Bryullov can not bring to the end - in the head does not fit into a harmonious system everything that he sees. But it 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 you can see a brilliant giftcolorist, and the skill that the Academy gave him. This intimate family portrait of the family, with which the artist was friends, immediately evokes sympathy. In these years, becoming 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 topics, he can create a new work and sell it. Bryullov became an independent person.

The ceremonial portrait (1832)

This is a pair portrait-picture, which depictsGiovannina and Amaccilia Paccini. He is known as the painting "The Horseman". 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, a 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" is marked by genius.

Movement of the model on the black horse is fast, butthey are balanced and solemn thanks to the compositional structure. The figure of Giovannina, confidently sitting in the ladies' saddle, is in the center of attention of the artist, who is subdued by her regal grandeur, the ability to cope with a rugged horse that can not recover from a walk and rises. Voronoi satin horse and white lush air skirt model, which lies elegant folds, contrast. Gentle and courageous color clothes Giovannina and Amalitia, which on the balcony with admiration meets the graceful rider.

The whole world is beautiful under the master's brush. Little Amalie is designed to shade the confidence of the horse's control and the calmness of her sister. Amaliex looks at the magnificent Amazon gullibly, gently, amazed. Two little dogs also meet a young, charming rider. On a shaggy doggie a collar with the inscription "Samoylov", written in Latin. The charm of youth, its brave tenderness and confidence we see in this portrait. It is impossible not to place a portrait of the customer, Yu. Samoilova, who always inspired the painter.

He is amazing and worthy of the highest praise of Bryullov's skill.

Historical picture

In parallel with the creation of portraits, watercolors,small Italian landscapes Bryullov Karl, whose works combined elements of classicism, realism and baroque, conceives back in 1827 a large, grandiose historical canvas and in 1830 begins to implement it. The thing is, the artist visited the excavations in Pompeii. He was stunned by the extent to which the remains of the ancient city were preserved. The Pompeii were alive, only the merchants in the shops, the residents who walk about their business on the streets, rest at home or sit in pubs, were lacking.

The idea of ​​the painting "The Last Day of Pompeii" BryullovCarl had three years. At this time he read a lot of eyewitnesses' letters. The aesthetics of romanticism, which was now filled with the artist, required credibility. To some extent, he was influenced by his friendship with the composer Paccini, who wrote the opera The Last Day of Pompeii. Bryullov Karl heard her, and she also introduced him food for thought and fantasy. In addition, he, deified the 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 is the school of Raphael. However, the color that he will use, the painter will podcherpnet in the richness of the color of Titian. He develops a special female type - strong, strong, passionate and unusually beautiful. His muse was Countess Yu. Samoilov, whose appearance in the painting he will write three times.

Day of Catastrophe

The greatness of the fateful moment is reflected on the canvas. This last black and scarlet day is terrible.

He is completely engulfed in the flames of fires,black ashes, the rumbling of buildings that crumble, cries for the help of unfortunate rushing people whom their gods have not sent protection. Yes, their gods themselves fall, unable to withstand the wrath of the earth and the volcano that has raged. In the foreground, the mother embraces two daughters and with horror sees that there is nowhere to wait for protection. Their gods collapsed. Near the sons carry the elderly father, and the young man supports the fallen bride. Then the frightened horse completely does not want to listen to its rider. Everything is in a rush. Only the artist is calm. He wants to remember these paints and movements forever. The Creator is a witness, in whose memory the bloody end of this night will remain.

The figures are simply sculptural. Still no one believes that these are their last fatal minutes. But all the good gods called them to this lofty, terrible spectacle. People will drink the full cup of suffering that they sent. Bryullov put on the classic form of experience, which people experience in the picture. All the shades of their feelings, which the artist expressed - this is pure romanticism.

Success in Italy was unusually large. And Paris did not appreciate this work, but Russia met this painting with triumph. He was responded to by A. Pushkin and E. Baratynsky. Gogol, Zhukovsky, Lermontov, Belinsky, Kiichelbecker - all highly appreciate this work. And the people went to the exhibition - townspeople, craftsmen, artisans, merchants. And Emperor Nicholas I at a personal audience, which will take place later, will crown the artist's head with a laurel wreath.

Homecoming

After the creation of the majestic canvas onthe demand of Emperor Nicholas I artist Karl Bryullov, visiting Greece, Constantinople and Moscow, returned to St. Petersburg. But he got ill dear, and the return stretched for almost three years. On the way, the painter worked hard. So he wrote in 1835 a portrait of Vice Admiral VA. Kornilov, the future hero of the Crimean War.

Bryullov was able to feel the character of his models. Now he intuitively chose a heroic personality. Anyway, in Moscow he was already in 1835. There was his personal acquaintance with A.S. Pushkin and V.A. Tropinin, our eminent portraitist, who left the serfs. Two artists appreciated each other's talents and became friends.

In St. Petersburg (1836 - 1849)

At that time he taught at the Academy and wrotemany portraits. We are familiar with his works by N.V. Kukolnik, V.A. Zhukovsky, I.A. Krylov is all contemporaries of Karl Bryullov. Their portraits will be painted by the artist. Will make an illustration to "Svetlana" VA. Zhukovsky. Great historical paintings will not create more Bulls Carl. The works and achievements of the last period of life lie in the field of portrait. Nestor Kukolnik - a 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 contradiction andreflection. The romantic Bryullov transferred to the canvas an atmosphere of doubts and disappointments - the spirit of the times. Life-affirming festive Bryullov was gone. On the portrait, we see something that is difficult to convey in words, this is the inconsistency that is inherent in the very character of Kukolnik. There is shyness, indifference, and some cynicism in him. The model looks directly at the viewer, but the figure is bent under the weight of timelessness. His life fences the wall. The composition is calm, only the reflexes light brings dynamics and tension.

Marriage

In 1838, Karl Pavlovich Bryullov met anda year later he married Emily Timm. Within a month, the joint life of the spouses proved to be impossible. A long divorce proceeded. Karl Bryullov, whose biography so abruptly fluctuated, was rejected by society. Consolation for him was a meeting with Julia Samoilova, who came from Italy on business related to the inheritance. For himself, he writes her ceremonial portrait.

And again he sees the ideal of a Woman worthy of a placeon the pedestal. Karl Pavlovich Bryullov again, alive, sings a beautiful person. The power of the Countess's spirit manifests itself in the external monumentality of the columns and draperies, the most molded figure of Samoylova, who appears before the viewer as a beautiful antique sculpture. The artist again sees beauty and spiritual strength. In the world of masquerade, Samoilova threw off her mask and revealed to the world a free person.

Karl Bryullov: a self-portrait (1848)

Working on the paintings of St. Isaac's Cathedral,which was still being built, Bryullov fell seriously ill. He received rheumatism, which gave complications to the heart. He was prescribed a bed rest and complete rest. Communication was reduced to a minimum - it was visited only by doctors.

And now an elderly artist, he will soonfifty, after the illness, when he had been lonely for more than six months, looks at himself in the mirror with a bitter disappointment. He is weak, his relaxed posture speaks of this, the hand on which the veins are swollen hangs immovably. But there is no peace here. The picture sums up life. Eyebrows are folded, wrinkles and wrinkles between them show a heightened work of thought. Political changes that affected the country, they are missed, and the artist, as he thinks, goes on the wrong road. He is infinitely tired, this noble and sublime man. The strength of his spirit is high, which he has to humble. All the disappointments are reflected in the self-portrait. He saw in the mirror not only himself, but all his generation.

Creativity of Karl Bryullov

The last years of life (1849 - 1852)Brullov will conduct the recommendations of doctors abroad. He is treated on the island of Madeira, then moves to Italy. He lives in the family of his companion Garibaldi. The ideas of the struggle for freedom are picked up by the artist. He again, despite heart failure, works a lot. Academic canons are pushed aside. The enthusiasm that has engulfed the country is manifested in the portrait of Juliet Tittoni, who is depicted in lats. This is the Italian Jeanne d'Arc.

The artist creates a gallery of images of struggling Italy. Belief in himself and his strength returned to him. But he can not know how little time is left for him. Having passed the long path of enthusiasm for academism in his youth, having switched to a romantic perception of the world and joyful chanting of Beauty, and in later years approached realism, Karl Bryullov, in short, making for Russian art unusually many, especially in the field of portrait, did not manage to disclose all his creative potential.

His heart refused, and he died at night insuffocation. The Russian genius is buried in Italy, in a small place near Rome, in a Protestant cemetery. In this year 1852, Russia lost VA. Zhukovsky, N.V. Gogol, the best student of Bryullov P. Fedotov.

As far as possible, the article describes the paintings.Karla Bryullov. His creations speak with us in a bright, accessible language. Enter the world created by the painter, and you will be bewitched by the love and beauty that the master glorified.