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Karl Pavlovich Bryullov
Karl Pavlovich
Russia 1799−1852
Все выставки художника
Biography and information
Karl Pavlovich Bryullov (1799, St Petersburg — 1852, Manziana, Italy) — famous Russian painter, muralist, watercolorist, portraitist. Winner of several awards from the Academy of arts awarded him the paintings. Gold medalist of the exhibition held in 1834 in Paris. On creativity Briullov grew a whole pleiad of Russian artists and foreign artists.

The characteristics of creativity Bryullov: art critics attribute the style of his writing to the academicism and romanticism, however, the talent of this painter is beyond the scope of generally accepted definitions. Being in constant search of his own style, the artist experimented with different techniques and materials. The painting Briullov was not only a tool for displaying the surrounding world, but also a means of expression. In his works he has managed to organically combine the heritage of the great masters of antiquity and the Renaissance with their own view on art.

Famous paintings by Briullov: "Narcissus", "Italian morning", "Italian midday", "Rider", "The last day of Pompeii"as well as portraits Krylov, A. Golitsyn, A. Bryullovetc.

Creativity Briullov: the long road to success

Birth in the family of the artist determined the future of Karl: his father was Paul Brullo engraver, wood Carver, master of miniatures and, concurrently, a teacher in the Academy of arts in Saint Petersburg. Like his brothers, young Carl from childhood began to learn the basics of drawing. Being born a sickly child, he spent days in bed, but diligence in performing tasks received from the father: draw a number of human figures and horses. For failure could be deprived of lunch or dinner, so the boy made every effort to avoid punishment. This technique has borne fruit — enrolling at the age of 10 in the Academy of fine arts Karl Bryullov admired teachers for their skills and diligence.

Training Briullov at the Academy lasted until 1821; in this period he created his first paintings — "Narcissus"(1819) and "the Genius of art", written in the period from 1817 to 1820, and recognized by the Council of the Academy as a model to copy. Easily coping with all the tasks and being pleasant young men, Bryullov found favor with teachers and classmates and often helped the last, correcting their examination papers.

Upon completion of training, Briullov was awarded a gold medal, which gave him the right to the status of a pensioner with a yearly overseas trip, but the President of the Academy took a strange decision: to leave graduate for 3 years under the pretext of improving skills. Teachers Briullov identified A. Ermolaeva — painter, no different skills. Request of Karl Pavlovich Bryullov to change the teacher dismissed, and then the painter refused to go abroad.

The unexpected proposal from the Society for the encouragement of artists has allowed the young artist once again to believe in themselves. To demonstrate their skills, Bryullov had to draw some paintings on given topics, and in return, the society promised to Finance the trip abroad. In terms of the trip consisted of mandatory reports about what they saw and new paintings, which the artist ought to regularly send to the Society. This was a unique chance for the novice painter Bryullov, and he tried to use it, writing the pattern "Repentance Polonica" and "Oedipus and Antigone", to convince the Commission in making the right choice.
Succeeding in 1822 the name Brullo on Bryullov, an artist with a brother, Alexander went on an interesting tour of Europe. Upon arrival in Rome, the painter received the first assignment from Society: he should copy "The Athenian school"a fresco by Raphael. This work he completed his apprenticeship: later paintings Briullov, with names, talking to us about where he drew inspiration for the genius of the brush, was destined to become a stunning success. So, painting "Italian morning"written in 1823, was summoned to St. Petersburg a sensation: Bryullov’s contemporaries were struck by the freshness of his writing and the originality of the interpretation of the seemingly ordinary plot. OPH presented this work as a gift to Nicholas I, who, while impressed, was awarded the artist with a diamond ring and asked for a steam room picture. Bryullov wrote in 1827,"Italian midday"but the society criticized the picture, based on a disgruntled opinion of the Emperor, and the artist has decided to cease cooperation with Society.

The Painting Briullov

The gap with OPH allowed the painter to devote himself entirely to orders from compatriots and Italian nobility: their number provide financial independence from the Companies. Photos of paintings by Bryullov, written at this period show us the originality of his talent and variety of artistic techniques, which Karl Pavlovich used for a more complete disclosure of the nature and the inner world of the characters. On his canvases the visible elements inherent in Baroque, classicism and realism, the paintings abound of household items and a carefully drawn setting.

In addition to portraits, Brullov also writes watercolors — juicy, airy, sun-filled and romantic. Watercolor painting Briullov inherent characteristic manner of writing: they represent a combination of contrasting color patches in which the artist had managed to capture the mood depicted in the watercolors of the people and the charm of nature.

1830 can be called crucial for the painter: he gets to work on monumental canvases devoted to the events in the ancient city of Pompeii, who died during the eruption of Vesuvius. In the preliminary preparation included visit to the excavations, sketches from nature, the study of scientific works. The creation of Briullov paintings have gone for 3 years. The result exceeded all expectations of the artist: his innovative approach to the depiction of historical story has been enthusiastically received by European and Russian public. Nicholas I, aware of this work, expressed a desire to meet personally with Briullov — the meeting took place in 1836. The customer picture, the philanthropist A. Demidov presented it to the Emperor as a gift. Initially the painting was in the Hermitage, and after a while Nicholas I presented it to the Academy of arts. Today this masterpiece is part of the Russian Museum.

Back in St. Petersburg, Karl Pavlovich Bryullov was appointed head of the historical class of the Academy. It was popular among the local nobility as a skilful portrait painter, from his brush came the portraits Krylov, V. Zhukovsky, N. Puppeteer, Yulia Samoilova, A. Strugovschikovand other contemporaries. He also participated in the painting of the Lutheran Church, and St. Isaac’s Cathedral, but due to the harsh conditions negatively affected the health of the artist, he was released from work.

At the insistence of physicians in 1849, painter Bryullov went to Madeira for health promotion. A year later he came to Italy, and lived there until 1852, died of a fit of suffocation in the town of Manziana, is located near Rome. Works created by the painter in the last years of his life, different kind of romanticism and theatricality.

On this page, we have gathered for you the best picture Brullov, created in different periods of art — to view them in large size, go through a quick registration on our site and enjoy the works that rightly belong to the world Treasury of art.
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Classicism was firmly established in European art of the 17th century, giving ground only in the first third of the next century. The classicists worshiped antiquity, strongly believed in the idea of the order and logic of the universe, as well as in the limitless possibilities of the human mind. Read more
was firmly established in European art of the 17th century, giving ground only in the first third of the next century. The classicists worshiped antiquity, strongly believed in the idea of the order and logic of the universe, as well as in the limitless possibilities of the human mind.
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It was the same disaster that once demolished Pompeii that made that provincial locality an international brand. The only city that has come to us fully preserved from ancient times, it is still full of surprises, as, now and then, superb frescoes show themselves again after two thousand years’ long oblivion. Their brilliant artfulness continues to puzzle researchers, while sceptics deny their…

Elena Lis
, 10 December 2018 09:47 AM 0
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К сожалению, статья переполнена неточностями :( Очевидно, что автор никогда не бывал ни в Помпеях, ни в Археологическом музее в Неаполе. Зачем же писать о том, чего не знаешь и вводить других в заблуждение?
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Artworks by the artist
total 310 artworks
Karl Pavlovich Bryullov. Narcissus looking into the water
Narcissus looking into the water
1819, 162×209.5 cm
Karl Pavlovich Bryullov. Sitter
1817, 86.6×57.9 cm
Karl Pavlovich Bryullov. Portrait of Grigory and Varvara Olenin.
Portrait of Grigory and Varvara Olenin.
1827, 42.5×33.5 cm
Karl Pavlovich Bryullov. M. I. Glinka at the piano
M. I. Glinka at the piano
XIX century, 37.5×26 cm
Karl Pavlovich Bryullov. Portrait of sculptor Ivan Vitali
Portrait of sculptor Ivan Vitali
1830-th , 94×76 cm
Karl Pavlovich Bryullov. Portrait Of A. A. Abaz
Portrait Of A. A. Abaz
1850, 73.2×62 cm
Karl Pavlovich Bryullov. Portrait of Empress Alexandra Feodorovna
Portrait of Empress Alexandra Feodorovna
1837, 74×61.5 cm
Karl Pavlovich Bryullov. Portrait of E. I. Durnovo, wife of artist T. I. Durnova
Portrait of E. I. Durnovo, wife of artist T. I. Durnova
1836, 71.5×62 cm
Karl Pavlovich Bryullov. Portrait of an unknown
Portrait of an unknown
1830, 27.4×20.8 cm
View 310 artworks by the artist