Today, December 23, marks the 215th anniversary of the birth of Karl Pavlovich Bryullov. His painting "The Last Day of Pompeii" is known even to those who are infinitely far from art, and to have at least one of his drawings in their funds is an honor for any museum. Petersburg is lucky - the State Russian Museum alone stores about 50 works by Karl Bryullov. A few more can be seen in the Hermitage.
On the artist's birthday, the site tells the stories behind the creation of five of his most famous paintings.
"Italian Afternoon"
The future painter grew up in creative family- his father Pavel Brullo was an academician of ornamental sculpture, and all seven children in the family were engaged in art in one way or another. But it was the weak and sickly Karl who had the happiest fate. At the age of 10, Karl was admitted to the St. Petersburg Academy of Arts, where he spent 12 years. In 1822 he earned a pensioner's stipend for four years for himself and his brother Alexander. Before leaving for Italy, they added the letter “B” to their family surname and became the Bryullovs.
Italy captivated the young artist, he got carried away genre scenes from everyday life local residents. In 1827 he asked a short, stocky young Italian woman to be his model for a small study. From it, the painting “Italian Noon” was subsequently born, which became a steam room painted four years earlier “Italian Morning”. At the same time, similar in color, “The Grape Harvest Festival” and “A Girl Gathering Grapes in the Outskirts of Naples” were written.
The picture "Italian noon" was received coldly and hostilely in Russia. Photo: commons.wikimedia.org
"Noon" was the reason for Bryullov's break with the Imperial Society for the Encouragement of Arts - at an exhibition in St. Petersburg, the picture caused a scandal, and critics called the model disproportionate. “I decided to look for that supposed diversity in those forms of simple nature that we often meet and often even like more than the strict beauty of the statues,” the author answered the critics.
"Portrait of Countess Yu. P. Samoilova, leaving the ball with the pupil Amazilia Pacini"
(State Russian Museum)
Bryullov met Countess Yulia Pavlovna Samoilova in 1827 at a dinner party. The daughter of General Palen and Maria Skavronskaya, that year she separated from her husband, the emperor's adjutant wing, Count Nikolai Samoilov, with whom she lived together for only two years. After the break, Yulia Pavlovna left for Italy, in Milan she entered the local high society, surrounded herself with artists and patronized the arts.
Countess Samoilova forever won the heart of the artist. Photo: commons.wikimedia.org
Bryullov was captivated by her Mediterranean beauty, grace, intelligence and independence. Long years she remained for him an artistic ideal, a close friend and lady of the heart.
For several decades, he painted more than one portrait of her. On the canvas of 1842, her beauty appears in all its splendor against the backdrop of lush carnival interiors. And her colorful outfit seems to remind of Italy dear to the heart of the artist, where, by the way, the distant ancestors of the countess were from.
"The last day of Pompeii"
(State Russian Museum)
Fascinated by Samoilova, Bryullov in 1830 invited her to go together to inspect the ruins of Pompeii and Herculaneum. Archeology was then in vogue, because in 1828 another eruption of Vesuvius took place. work on new painting Bryullov began by order of the patron Anatoly Demidov and did not even suspect that the picture would be the peak of his career. The creation of the masterpiece took three years. During this time, Bryullov studied a lot of literature about the ancient catastrophe and visited the excavations, where he made a number of sketches of the landscape.
"The Last Day of Pompeii" became the pinnacle of Karl Bryullov's work. Photo: Commons.wikimedia.org It is known that the canvas depicts a part of the Street of the Tombs, which the artist painted with his back to the city gates. Dozens, if not hundreds of sketches with figures of people remained, whom he tried to portray as emotionally as possible. In the left corner, he wrote himself - an artist saving drawing supplies. Also in the picture, Countess Yulia Samoilova is “mentioned” three times: a woman with a jug on her head in the left side of the canvas, a woman who died to death on the pavement in the center of the canvas, and a mother attracting her daughters to her in the left corner.
The canvas was exhibited in Rome, where it received rave reviews from critics, after which it was transferred to Paris Louvre. This work was the first painting by the artist that aroused such interest abroad. In 1834, the painting "The Last Day of Pompeii" received a gold medal in Paris and was sent to St. Petersburg. Alexander Turgenev said that she was the glory of Russia and Italy. And Alexander Pushkin wrote the lines “Idols are falling! A people driven by fear…” Nicholas I honored the artist with a personal audience and awarded Charles with a laurel wreath, after which he was called “Charlemagne”. After the opening of the Russian Museum in 1895, the canvas moved there.
"Rider"
(Tretyakov Gallery)
In 1832, Countess Yulia Samoilova asked her friend to paint a portrait of her pupil, Giovannina Pacini. As a subject, the artist chose a horseback ride: Giovanina rides a horse to the house of her foster mother, at the entrance of which she is enthusiastically greeted dressed in pink dress and her green shoes younger sister Amalicia. It is known that Amalicia Samoilova was raised by her father Italian composer Giovanni Pacini. Jovanina does not seem to have been her own sister - there is no clear version of her origin.
In the painting "Horsewoman" Bryullov depicted two pupils of Samoilova. Photo: commons.wikimedia.org
The artist called his work "Jovanin on a horse." A furry dog is depicted in the corner, on the collar of which is the name of the customer of the canvas - "Samoylova". In 1832, the painting was exhibited in Milan, in the Brera Gallery, after which it remained in the collection of the countess, which was sold out in 1872, shortly before the death of the bankrupt Samoilova. In 1896, the "Horsewoman" was acquired for the gallery of P. M. Tretyakov.
"Bathsheba"
(Tretyakov Gallery)
“One evening, David, getting up from his bed, was walking on the roof of the royal house and saw a woman bathing from the roof; and that woman was very beautiful. And David sent to find out who this woman was? And they said to him: this is Bathsheba, the daughter of Eliam, the wife of Uriah the Hittite, ”the Bible says.
Before Bryullov, Russian painters almost did not turn to the nude, and female models were not even placed within the walls of the Academy of Arts. experience new genre he was inspired by the Pompeian paintings he saw during his trips to Italy. "Bathsheba" is dedicated to the biblical story in which King David sent the beauty's husband to death in order to take possession of her.
"Bathsheba" became one of the first nude works in Russian painting. Photo: commons.wikimedia.org
Alexandre Benois called Bathsheba, painted in 1832, "voluptuous and brilliant in color." Bryullov worked on it for several years and almost despaired, realizing that bible story didn’t work out - once he even launched a boot into the picture. The unfinished painting was bought by a philanthropist, who later donated it to the Tretyakov Gallery. So she remained with unregistered translucent hands.
In 1835, Karl Bryullov returned to Russia to take up a professorship at the Academy of Arts. An unhappy and short marriage awaited him with Chopin's student Emilia Timm, new meeting with Countess Samoilova and new canvases. In 1847, he survived a severe cold and fell ill, and in 1849, at the insistence of doctors, he left for the island of Madeira. The treatment did not help, and in 1852 the artist died in small town near Rome. He is buried in the cemetery of Monte Testaccio, a Roman cemetery for non-Catholic foreigners.
Surely paintings Karl Pavlovich Bryullov known to everyone school bench. "The Last Day of Pompeii", "Italian Noon" and other canvases are permeated with real emotions, feelings, expression. Unlike many other artists, Bryullov did not choose models for himself among fragile, pampered models. His heroines were girls from real life with all their advantages and disadvantages. Not all contemporaries immediately agreed with such an innovation of the author, but over time, Bryullov received worldwide recognition, and he himself began to be called "Charlemagne".
Karl Bryullov was born in 1799. As a child, he was a very sickly boy and did not get out of bed for several years. But this fact did not stop his father, Pavel Brullo, who decided to teach his son painting. Every day the child was given tasks: to draw animals, people or natural motifs. And while Karl did not cope with the task, he did not receive breakfast.
At the age of 10, Karl Brullo was enrolled in the St. Petersburg Academy of Arts, where he studied for 12 years. The boy brilliantly coped with any task assigned to him, and for this in 1822 he received a pensioner's scholarship for four years, which involved studying in Italy. Before leaving, Charles received permission from the emperor to add the letter “v” to his surname, so that everyone could understand where the artist came from.
Italy conquered the young artist. In 1827, the artist painted the painting “Italian Noon”, the model for which was a pretty dense Italian woman. In Russia, this picture was received very coldly, because it did not correspond to fashion trends that time. Critics called the model "disproportionate", and Bryullov left the Imperial Society for the Encouragement of Arts with a scandal.
In 1827, in Italy, Karl Bryullov met Countess Yulia Pavlovna Samoilova. The artist was captivated by the incredible Mediterranean beauty, intelligence and grace of this woman. The countess often became a model for Bryullov's paintings. In the painting “Portrait of Countess Yu. P. Samoilova, leaving the ball with her pupil Amalia Pacini”, incredible colors, pomp of outfits only emphasized the beauty of his muse.
In 1830, Karl Bryullov, together with Countess Samoilova, went to the ruins of Pompeii and Herculaneum. Two years before that, another eruption of Vesuvius took place, so it was fashionable to be interested in architecture then.
Bryullov began work on the painting that made him world famous by order of patron Anatoly Demidov. Before starting to paint the canvas, the artist studied a lot historical documents about Pompeii and made many sketches from the scene.
Karl Bryullov painted the people in the picture as emotionally as possible. He captured himself there as an artist running with drawing supplies. Yulia Samoilova can also be found on the canvas. She is represented there in three images: a woman with a jug on her head, a mother trying to protect her daughters and dying on the pavement.
In Rome, "The Last Day of Pompeii" received the most flattering criticism, after which the painting was sent to the Louvre in Paris. In 1834 the painting reached St. Petersburg, where she created real hype. Emperor Nicholas I himself wished to see the painting, after which he awarded Karl Bryullov.
No less iconic painting of the painter was "Bathsheba". Before Bryullov Russian artists practically did not turn to nudity. Bryullov, inspired by the success " last day Pompeii", decided to paint a picture in a new genre. He took as a basis biblical story about Bathsheba, whom King David saw bathing.
For several years the master worked on the painting. Critics called her "voluptuous and brilliant in color". The artist realized that he could not convey his intentions to the audience, and even once threw a boot at the picture. Bryullov did not finish the picture, the beauty's brushes remained unwritten. It was in this form that "Bathsheba" was acquired by a patron of the arts and sent to the Tretyakov Gallery.
Among art historians, the picture raises many questions. Researchers are still arguing about who is really depicted on it.
Grapes from a dream are a very ambiguous symbol. It can be a harbinger of both a romantic adventure or big profits, as well as a strong fright or health problems. Modern dream books will help you figure out what the grapes are dreaming of.
Dream Interpretation: why does a woman dream of grapes?
In Miller's dream book, the grapes that someone treats the sleeping woman is a symbol of a new acquaintance. The girl will meet on her life path a very interesting person and she will become the initiator of acquaintance. If it is a woman who feeds someone with berries, in reality this will bring her sadness. Perhaps she will give another person her success or even her heart.
In the Eastern Dream Book, unripe fruits portend the fair sex to making a profit, for which she will have to work long and hard. But the grape harvest in a dream is a big money dream. Especially if the clusters are very large and appetizing.
Did you have to crush grapes to get wine? The girl is very tired from everyday affairs and worries. She urgently needs a good quality rest before health problems start.
To dream of green, black, white grapes
The interpretation largely depends on the color of the fruit.
- If in female dream snow-white berries appear, you need to pay attention to the state of your body. First of all, visit a cardiologist. Possible heart problems.
- If you dream of green grapes, the girl will be seriously upset, because of which she will cry bitterly. Eating berries of this color indicates that the young lady has become an energy vampire for someone.
- If you dream of black grapes, there will be large material losses. And to try very large dark clusters - to a strong fright.
Why dream of picking berries?
Picking ripe blue large grapes is a dream on the eve of making big profits. Finally, a woman will be able to afford a lot of material pleasures that she has dreamed of for so long.
