This and other, no less flattering, reviews appeared in Italian newspapers in 1832. The painting “Horsewoman” aroused the interest and admiration of art lovers. Portrait of Amatsilia and Giovanni Pacini, pupils of Countess Yu. P. Samoilova.”
Now the canvas is kept in the State Tretyakov Gallery and continues to attract spectators. The artist’s plan happily combined the majesty of the ceremonial portrait and the simplicity, poetic spirituality of the living, spontaneous characters of the two heroines.
Few know the history of creation and fate of the work. “The Horsewoman” was written in 1832, when Karl Pavlovich Bryullov lived in Milan, in northern Italy. The artist’s close friend, wealthy aristocrat Yulia Samoilova, commissioned the young master to paint a portrait of her students. These were the daughter and young relative of the deceased composer Giuseppe Pacini. The same Pacini, whose opera “The Last Day of Pompeii” prompted Bryullov to the theme of the future famous painting. The painter painted two sisters in a villa near Milan.
In the center of the picture, Giovanni Pacini is depicted on a hot horse. The horse gets excited, but the rider sits straight and proud, confident in herself. To the left of the young Amazon there is a balcony, onto which her younger sister ran out, in the depths there is a shady park.
The overall silhouette of the rider and horse forms something like a triangle - a stable, long-favored form of constructing a ceremonial portrait. This is how many compositions were solved by Titian, Velazquez, Rubens, and Van Dyck. Under Bryullov’s brush, the old compositional scheme is interpreted in a new way. The artist introduces the figure of a child into the picture. The little girl, hearing the horse's tramp, quickly ran out onto the balcony and stretched out her hand through the bars. Both delight and fear for the rider are expressed on her face. A note of living, direct feeling tempers the cold majesty of the portrait, giving it spontaneity and humanity.
The shaggy dog depicted on the canvas helps create the impression that in the painting the space unfolds not only in depth, but also exists in front of the characters.
The painting was exhibited in Milan, and then guests of Yu. P. Samoilova could see it among other works of art. In 1838, the famous Russian poet and translator V. A. Zhukovsky admired the portrait.
Subsequently, traces of the canvas are lost for a long time. Yu. P. Samoilova became poor, moved from Italy to Paris and took with her a portrait of her pupils. She broke up with him at the very end of her life, in 1875. Repin, while in Paris in the summer of 1874, wrote to P. M. Tretyakov that “some Countess Samoilova here sells several things by K. P. Bryullov...”. But he did not have time to buy the painting.
The work came to the attention of Russian art collectors for the second time at the end of the 19th century. A French art dealer exhibited “The Horsewoman,” or “Amazon,” as it was also called, at the Academy of Arts in St. Petersburg. In 1893, P. M. Tretyakov acquired it for his famous collection of Russian paintings. Since then, “The Horsewoman” has been decorating the gallery’s halls.
Today, looking at this work, you understand how right the Italian art connoisseur was when he called the young Karl Bryullov a brilliant artist just for this portrait alone. The master boldly combines the girl’s pink dress, the velvety black color of the horse’s fur and the white robe of the rider. Bryullov gives a complex harmony of pink-red, bluish-black and white shades. The painter, as it were, deliberately chooses not close, but contrasting, especially complex in painting, combinations. But each tone was developed masterfully by the master, in many subtle gradations. The pictorial layer is not overloaded anywhere, and this enhances the sound of the paint on the light ground. Bryullov achieved a special tonal harmony here. There are no careless, sluggishly painted places in the portrait.
When “The Horsewoman” was created, Karl Bryullov was thirty-three years old. Ahead was the triumph of Pompeii, a series of famous portraits of his contemporaries, friendship with Pushkin and Glinka. There was a whole life ahead...
“Horsewoman” is a painting by Russian artist Karl Bryullov, painted in 1832 at the request of Countess Yulia Samoilova. The artist even depicted the Samoilovs’ surname on the dog’s collar. The painting was first exhibited in 1832 at the Brera Gallery in Milan. Then the painting was kept by the Countess herself until her ruin in 1972, when the painting was sold.
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova
Even before the painting “Horsewoman” was born, Bryullov already had universal recognition. The artist decides to bring the image of the beautiful equestrian to life at the end of his stay in Italy, when Countess Samoilova orders a portrait of her adopted daughters from him. Without thinking twice, the artist makes a bold decision - to depict the eldest pupil, Jovanina, on horseback, as previously they decided to depict only generals and titled persons. The youngest, Amalicia, stands aside, watching the end of the horse ride.
Karl Bryullov
Rider.
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
In 1896, “The Horsewoman” was acquired for the Tretyakov Gallery. At first it was assumed that the Countess herself was depicted on the canvas, but art historians, having studied Bryullov’s later paintings, were able to prove that this was not the case. The painting depicts Giovanina and Amalizia Pacini, pupils of Countess Yulia Samoilova. The artist called his painting “Giovanin on a Horse.” In Italy there are engravings of this painting, which are considered to be a portrait of the singer Malibran, who is quite famous and is the sister of Pauline Viardot
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
The painting conveys the scene of a walk. The moment of returning home is captured when Jovanin rides up to the porch on a black horse. Bryullov’s composition “Horsewoman” is filled with dynamism - everything in it is in motion, frozen literally for a second so that the artist can capture it. The black horse beats its hoof, hot after a walk, and the dog, with a personalized collar, throws itself under his hooves, joyfully greeting Jovanin.
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
The canvas also depicts Giovanin's little half-sister, Amalicia. She is dressed in a pink dress and green shoes. But what attracts the most attention is her enthusiastic look at her half-sister Jovanin.
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
Danny Wright *Wings Of Hope*
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
The finished work was presented to the public in 1832, and caused a mixed reaction from critics. Many condemned the picture, pointing to the frozen, lifeless face of the horsewoman. Also, some critics pointed out that the rider’s position was too loose, which caused the feeling of speed and dynamics to be lost. One said: "She either doesn't notice the fast pace of the ride or is too confident to pull on the reins and duck like a skilled rider would."
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
But, despite the criticism, the majority of the public received the picture positively, calling it a masterpiece. After the painting “Horsewoman” was presented to the public, Bryullov took a place next to such legends as Rubens and Van Dyck. (well, this is unlikely - my note.) The audience was simply captivated by the scale of the painting and the skill of the artist’s brush. As for the expression on Giovannina’s face, the creator himself explained this by the special task that he set for art at that time. At first, the painting was given to Samoilova’s collection, but when the count’s family went bankrupt, the painting changed hands. In 1896 it was bought for the Tretyakov Gallery.
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
What does the viewer see when looking at the canvas? First of all, it is speed, movement, liveliness, which the artist conveyed in the best possible way. These traits are noticeable in almost all the characters: a lathered horse that clearly doesn’t want to stop, an enthusiastic girl on the balcony, and a shaggy dog barking animatedly at the rider. It seems that even the dog hiding behind the girl will now take off and rush after the horse. Maybe she would have done this if the rider had not stopped the horse. And only the rider herself remains calm: it seems that she does not care at all about the world around her, in her thoughts she is somewhere far away...
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
The most interesting thing that can be seen in the picture is, perhaps, little Amalicia. In every movement, animated face and enthusiastic eyes of the baby, you can read delight mixed with anticipation. The girl is waiting to become as old as her sister, to be able to saddle a black horse and ride it just as majestically in front of her enthusiastic relatives.
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
The picture is full of joy from meeting after a short, but still absence. Watching her takes one’s breath away and the viewer seems to plunge into this joyful atmosphere depicted on the canvas of the Russian artist Karl Bryullov, who was able to so sincerely and honestly convey the atmosphere that reigned at that time in the countess’s estate.
Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia
In the building of the Tretyakov Gallery in Lavrushinsky Lane, in room No. 9, there is a painting that is difficult not to notice. The inscription under it reads: K. P. Bryullov, “Horsewoman.” It is impressive in size: the rider on a magnificent horse is depicted life-size.
Even more striking is the joy of existence radiated by the canvas and the highest pictorial skill with which the beauty of a frozen moment is conveyed.
Great Charles
The richest families in Europe and Russia wanted portraits by him; the colossal painting “The Last Day of Pompeii” impressed both Western European and Russian audiences. “The Horsewoman” was also called a magnificent achievement. Bryullov Karl Pavlovich (1799-1852) became one of the first Russian painters to receive European recognition. He was commissioned to take a self-portrait for the Uffizi Gallery, and such orders were received by artists who had earned the reputation of true masters.
Working in an academic style, Bryullov, while living in Italy, became imbued with the classical images of the great painting of Venice, Florence, Rome and Milan. His natural gift and enormous hard work made him an excellent draftsman and virtuoso master of color. These qualities of the great painter were used to create romantic images, endowed with a bright radiance of absolute beauty. Bryullov’s painting “Horsewoman” is a pearl from a whole Italian necklace of such images.
Italian beauty with Russian soul
Under the southern sky of the Apennine Peninsula, the artist spent one of the happiest and most fruitful periods of his life. The pension awarded for successful completion of the Academy of Arts allowed Karl Pavlovich to live in Italy for 12 years - from 1823 to 1835. All works of this time, including Bryullov’s painting “The Horsewoman,” are permeated with strong emotions and emotional excitement of youth. Here he received real recognition from critics and viewers.
The next time the artist returned to Italy was shortly before his death. In the work of the last stage of life, romantic elation remained, but increasingly complemented by melancholy and fatigue. Karl Pavlovich Bryullov remained faithful to the ideal of spiritualized female beauty, which is clearly expressed in the work “Horsewoman” until the last hour.
Characters
Many true masterpieces live their own lives after birth, often changing the name given by the author. Bryullov’s painting “Horsewoman” is one of them. The artist designated the work exhibited in 1832 as “Zhovanin on a Horse.” Giovanna Pacini and her younger sister Amazilia are orphans, whose fate was discussed at one time by the entire Roman secular society. Unexpectedly, they were adopted by Bryullov’s good friend, Russian Countess Yulia Pavlovna Samoilova. Karl Pavlovich captured Giovanna on another famous canvas - a brilliant ceremonial portrait, where she is depicted together with her adoptive mother and her blackamoor.
Yulia Samoilova herself was Bryullov’s favorite model, muse and true friend. He found in her his ideal of external beauty and charm, not devoid of deep inner content, and he used Samoilova’s appearance in the tragic images of dying Pompeii.
Plot
The young beauty rode up to the house on a magnificent black horse. The wonderful animal has not yet cooled down after galloping through the shady park visible in the background. The excited appearance of the horse, the excitement of the recent race, the clearly audible snorting and stepping of hooves - all this is perfectly conveyed by Bryullov. “The Horsewoman” is full of movement, which involves a girl running out to meet her with an elegant greyhound dog, and a dog spinning around the horse’s legs.
The artist Bryullov creates a double portrait of two people he knows; “The Horsewoman” is full of a physical feeling of excitement and joy of life. And yet we see a sophisticated work created according to academic recipes. Against the background of a very animated child’s face, expressing complete delight, the face and pose of the rider are slightly restrained and distant, the beautiful veil is exquisitely frozen in the air, the evening sky emits a mysterious light, and the surroundings are a little theatrical.
Genre
By all indications, we have before us a ceremonial portrait: large size, carefully painted clothes with exquisite shimmers of fabric, classical beauty and dignity of the main character. A man on a horse is usually always monumental, but how unexpectedly it fits the genre of a large portrait of the Bryullovs! “The Horsewoman” is full of both lyricism and poetry.
The portrait resemblance and character are undeniable, but how spontaneous is the younger sister in her joy, how many pent-up feelings there are in the face of the rider! Portrait-painting - this is how you can call “Horsewoman”.
The main character seems refined and refined, but a thin hand in a white glove confidently holds the reins - the powerful strength and animal energy of the horse does not get out of control. The taming of violence with gentle beauty is one of the most popular symbols of the Romantic era.
Another aspect of skill that Bryullov demonstrates is admirable. “The Horsewoman” is an outstanding work by an attentive and precise animal artist. How beautifully the animals are written! The dogs are depicted with the love of a true connoisseur; the powerful muscles of the horse under the thin iridescent skin and its wild, furious eye are unforgettable.
A true romantic
And he had enemies. Bryullov was called a salon artist, interesting only to an undemanding and jaded public, because he had so much of everything - light, color, textures. Yes, for anyone else, the models and plots used by the master would have turned into squalor and bad taste. But he is a genius, he is Bryullov! Karl Petrovich’s “Horsewoman,” whose description in the form of text is a typical commissioned portrait for a capricious rich man with a minimum of depth and a maximum of beautiful fabrics and purebred animals, is an inspired hymn to childhood and youth, beauty and health, fullness and happiness of life.
Karl Pavlovich Bryullov is one of the famous Russian masters of painting. Watercolorist, adherent of 19th century academicism. In 1822 he was sent on a mission to Italy, the purpose of the trip was to collect financial assistance from the Society for the Encouragement of Artists. The master created a creation called “Horsewoman”. Depicted is a portrait of Amalicia Pacini, Giovannina - the wards of Countess Samoilova. Those interested in who painted the painting “Horsewoman” often come across another interpretation of the title - “Amazon”. The work was published in 1832.
The history of the painting “Horsewoman”
Y. Samoilova asked to create the creation. The artist was known as a close friend of the beauty. The beloved's surname is noticeable on the canvas (who noticed the dog's collar). Presumably, the young people met in Italy. Julia ordered a portrait of her wards from the artist. Amalicia (the youngest girl) is the daughter of the composer Giuseppe Pacini. Interesting fact: an earlier operatic work by this musical author, “The Last Day of Pompeii,” prompted Karl to create the work of the same name.
The painting was created in a villa (outskirts of Milan). The work was shown at the Brera Gallery in Milan. The canvas instantly received a lot of reviews, positive and negative. Italian newspapers called Karl an unsurpassed master of the brush. Comparisons were made with Rubens and Van Dyck. Critics noted: the rider’s face was lifeless, simply frozen without emotion. The description of the work was as follows: the main character sits too freely on horseback. The feeling of speed and the idea of dynamics are neutralized.
For four decades the work was part of the Countess's collection. Julia was rich, bought and sold houses, estates, works of art. But towards the end of his life the situation changed. Shortly before her death (1872), Julia, already bankrupt, sold the work to Parisian art connoisseurs. Fate brought Karl Bryullov’s creation, “The Horsewoman,” to St. Petersburg. In 1874, a letter was sent to Tretyakov: the painting was for sale. Tretyakov was late with the acquisition, but in 1893 the desired item was added to the collection.
According to a considerable number of assumptions, the canvas depicts Countess Samoilova. Experts have refuted the assumption. A different representative of the fair sex was written. A reproduction of the painting “Horsewoman” by Bryullov is housed by the State Russian St. Petersburg Museum. The work continues to receive many responses.
Description of the painting “Horsewoman” by Bryullov
The central figure is Giovanina, riding a magnificent horse. The beauty is self-confident. This is noticeable in the position: he sits, keeping his back straight, his head raised, even if the horse is prancing. Giovannina returned from a walk, which is indicated by a slight blush touching her cheeks. The facial expression is a little detached. The beauty's clothes are fashionable: light blue tones, dark green veil blown by the wind.
The canvas is permeated with dynamics: the horse rears up, the dog runs towards. Amalicia on the balcony. The girl heard horse tramping. The girl's face expresses both admiration and fear. The baby is fascinated by the young rider, her sister is adored. Amalicia is dressed unpretentiously: lace pantaloons, a pink house dress. A real feeling of admiration, childishly spontaneous, gives some softness to the portrait of the arrogant beauty.
How many animals are in the painting “Horsewoman”? 3 - 2 dogs and a horse. The background of the canvas is a shady park. The trees sway from the strong wind. The skies are filled with storm clouds. Karl, like a considerable number of creators, used the classic form of forming a ceremonial portrait - triangular. The approach is typical for the works of Rubens, Titian, Velazquez, Van Dyck. The silhouette of a rider and a horse forms a triangle. But the artist breaks the traditional approach: a new figure appears. An unusual addition is a shaggy dog. The presence of an animal creates the impression that there is space in front of the characters in the picture. Then an equestrian portrait could not be done without the presence of the rider as a crowned person. Karl violated the postulate. The young pupil of his beloved sits in a regal pose on a black horse.
The picture is filled with joy from meeting after a short absence. Contemplating the work of a great artist takes your breath away. The viewer finds himself in a joyful atmosphere. Karl professionally presented the atmosphere that was then in the estate of the woman he loved, Countess Yulia Samoilova.
Karl’s canvas was rightfully chosen as an example of 19th century portraiture. The author of the painting “Rider on a Horse” created impeccable proportions. The audience is presented with an unsurpassed unity of colors, details are worked out. Visitors to the gallery can fully enjoy the art carried through the years.
CategoryKarl Bryullov is the author of many wonderful portraits. Among them there are ceremonial, “story” portraits of luxurious beauties. Among the most famous portrait paintings is “The Horsewoman,” painted by Bryullov in Italy in 1832. In this work, the artist combined an everyday scene and a ceremonial equestrian portrait.
The picture has an interesting plot and amazes with its richness of shades. It depicts a young lady returning on a magnificent black horse from her morning walk, and a little girl greeting her on the balcony.
Bryullov with great skill draws a horse in motion - it tries to rear up, crosses its eyes, gets excited and snorts. The rider stops her with a graceful movement.
The agility of the Amazon excites the delight of a little girl in a smart dress. Leaning against the balcony railing, she looks at her older friend with adoration.
The shaggy dog is also excited - she barks fiercely at the horse. Even the pre-storm landscape with cirrus clouds running across the sky and tree trunks leaning from the wind shares the excitement.
Depicting the horsewoman and her little friend, the painter showed himself to be a true master of painting. The canvas has a bold compositional solution, the images depicted are distinguished by their liveliness and completeness, and the palette amazes with the brilliance and freshness of the colors.
The painting “Horsewoman” is a romantic ballad about the delightful pranks of youth. The artist admires the extraordinary picturesqueness of the surrounding world, glorifies the charm and joy of the surrounding life.
In addition to the description of K. P. Bryullov’s painting “Horsewoman,” our website contains many other descriptions of paintings by various artists, which can be used both in preparation for writing an essay on the painting, and simply for a more complete acquaintance with the work of famous masters of the past.
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