XV Международная студенческая научная конференция Студенческий научный форум - 2023

Karl Pavlovich Bryullov was born in St. Petersburg on December 23, 1799 in the family of a sculptor of French origin Pavel Ivanovich Bryullo - academician, teacher in the class of ornamental sculpture of the St. Petersburg Academy of Arts, wood carver, master of miniature painting and engraver.

At the age of ten, namely in October 1809, Bryullov was enrolled without exams for state maintenance at the Imperial Academy of Arts in St. Petersburg, where he studied until 1821. On the day of Bryullov's enrollment, an entry appeared in the journal of the Academy: "1809, in the journal of the Council [of the Academy] it was written: ... October 2nd day... accepted as pupils of the Academy... without running: 57. Karl Pavlov Brullo "the son of an academician." Among his teachers was Andrey Ivanovich Ivanov (Russian artist, representative of classicism, father of the famous painter Alexander Ivanov, and years of life 1775 - 12.07.1848).

As an excellent master of the brush, young Brullo proved himself while still a student of the academy. His first independent work — a watercolor drawing "The Genius of Art", written in the period from 1817 to 1820, became a model for educational copying in a full-scale class. On it, Bryullov depicted a young man with a lyre, a rod and the head of the priest of Laocoon at his feet. In 1819, Bryullov painted his first painting — "Narcissus looking into the water", which A. I. Ivanov bought for his collection. This work brought Bryullov a small gold medal. As a graduation work, Bryullov in 1821 created "The Appearance of three angels to Abraham at the oak of Mamvri". For it, he received a large gold medal, as well as the right to a retirement trip abroad.

World recognition of genius.

On August 16, 1822, Karl left for Italy with his brother Alexander. Until 1822, Karl and Alexander Bryullov bore the surname of their ancestors Brullo. It was in connection with this trip that the surname of the two brothers was Russified, having received a Russian ending in the Highest Decree, which was given the permission of Emperor Alexander I for their artistic trip abroad.

One of the most famous works of Karl Pavlovich is the painting "The Last Day of Pompeii", which was created just during Bryullov's boarding school trip. The master worked on this truly great canvas for 4 years from 1799 to 1833. The painting visited almost all the leading European countries: in 1833, it was exhibited in Rome, then in Paris, in St. Petersburg and in a number of other cities. Many famous people came to see the painting in those years, among whom was the writer Walter Scott. The Florentine Academy of Arts awarded the artist the title of professor of the first degree for this canvas. At home and abroad, the picture received a flurry of approving reviews and articles.

Here is what a friend of the great artist - writer N.V. Gogol wrote in his critical article "The Last Day of Pompeii": “But when I looked at her, when she flashed in front of me, the word flew through my thoughts like lightning: Bryulov! I recognized him. His brush contains the poetry that our senses always know and even see distinctive signs, but their words will never tell”.

Master of the portrait.

However, Karl Pavlovich was known not only as a talented painter, but also as a master of portrait art. His career as a portrait painter began during a trip to Europe. Therefore, in 1823, he painted three portraits at the royal court in Munich. Bryullov painted portraits of Baron Hornstein, the daughter of the Minister of Internal Affairs and the Minister of Finance with his wife. Here is what Alexander Bryullov wrote in a letter to his parents: "We met Baron Hornstein, a man about 60 years old - he is healthy, cheerful, and active (doing nothing). He made us acquainted with almost all the local artists. Charles offered him to paint a portrait of him; he accepted it with his usual simplicity, at the end took him to court, showed him to the royal family and some ministers; two of them, the Minister of the Interior and the Minister of Finance, asked to do them the honor and paint portraits, the first with his daughter, and the other with him and his wife (which is what he is doing now)"

Already being in Rome, Karl Pavlovich painted in 1832 the beautiful portraits "Julia Samoilova with a pupil and an Arab" and "The Horsewoman", taking Countess Samoilova and her pupil Giovaninna Pacili as models.

There is no kind of Russian portrait of the XIX century that Bryullov would not pay tribute to, he created many of them. None of the techniques remained without the artist's attention: oil portraits alternate with beautiful watercolor works, sketchy or finished pencil drawings. His large, very spectacular sold portrait compositions sometimes even have a plot plot. Other portraits, where the model is deprived of a rich environment, draw the viewer's attention to the inner world of a person, revealing the significance of a gifted, creative nature. Demonstrativeness sometimes gives way to a simpler, restrained image of a person, most often a close acquaintance of the artist. In addition, finally, he is no stranger to a caricatured, sharp-featured portrait, sometimes very angry, sometimes even repulsively unpleasant.

Bryullov's ceremonial portraits are recognized by the elation with which the model is presented and expressed in the general idea of the image and in the expression of its embodiment. The romantic tension inherent in self-portraits is inherent in Bryullov's portrait work as a whole. It forms the soul of the best examples of Bryullov's ceremonial portrait, that is, a large oil portrait, where the model is depicted most often in full height, in some solemn, significant environment.

The latter include, for example, works with Countess Yu.P. Samoilova. Their idea is the plastic beauty of a woman, as a visible expression of the "supreme grace" of her human nature. The great master painted his first self-portraits in the late 20s and early 30s of the nineteenth century: oil - now stored in the Russian Museum, sepia from the collection of the Tretyakov Gallery and watercolor from the Pushkin Museum of Fine Arts in Moscow.

In a self-portrait from the Russian Museum, the young artist depicted himself in a bright beam of light, effectively outlining his face framed by a lush mass of brown hair against the background of the surrounding twilight. The artist emphasizes in his appearance the inner energy, even some tension of the mental state. In the created image, one feels self-confidence, in one's strength, one feels an active volitional principle.

The last self-portrait of the master was the self-portrait of 1848, which became the most famous of all previously painted self-portraits. The portrait was created in just a few hours. Bryullov depicted himself reclining - his head is thrown back, a thin, carefully written hand rests on the velvet handle of Voltaire's chair. The face is pale and tense, shadows lie on the cheekbones and under the eyes - the artist has just suffered a serious illness.

Bryullov's skill has reached perfection in these years. His brush is truly virtuoso - what many painters cannot do at all, Bryullov writes easily, solving the most complex plastic problems with one touch.

During his career, Bryullov has not painted many self-portraits, but each of them shows the great artist at a certain point in time in as much detail and realistically as possible, and also shows us what emotions the author is experiencing right now.

A lot has not happened. The cherished dream of leaving pictures to the motherland, which would express the most intimate - the fate of the people, the great history of Russia, did not come true. He was hampered by salon routs and social receptions, the heavy, fettering guardianship of the tsar. Constant royal orders under the guise of requests and wishes. Unexpected illness. But Bryullov was still wrong: his paintings and drawings remained, and with them his feelings and experiences. Thousands of admirers of the artist's talent around the world do not give time the slightest opportunity to smooth out the impression of his paintings. The colors do not fade and the background does not fade - fans of Karl Bryullov's work, as many years ago, fill the halls of museums, admiring his masterpieces.

References.

1. Critical article The Last Day of Pompeii. Gogol N.V.// Gogol N.V. Complete works. M.: Publishing house of the USSR Academy of Sciences T8. Articles. – 1952. – pp. 107-114. [Electronic resource], URL: http://feb-web.ru/feb/gogol/texts/ps0/ps8/ps8-107-.htm

2. K. P. Bryullov in letters, documents, memoirs of contemporaries, compiler and author of the preface N.G. Mashkovtsev, M., publishing house of the Academy of Arts of the USSR, 1961. - 368 p.

3. Masters of Art about Art volume 4, edited by A. Fedorov-Davydova, State Publishing House of Fine Arts, 1937. – 620 p.

4. Bryullov portraitist. M. Rakova, M.: State publishing house "Art", 1956. – 1599 p.

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