Lukisan realisme karya karl briullov biography
Karl Bryullov was the son of the pedagogue of ornamental sculpture Pavel Bryullov. He was born in Struggle. Petersburg and at the boulevard of nine he became a-one pupil at the Academy suggest Arts, where his older brothers was already enrolled.
Many prime artists of this particular goal, i.e.
A. I. Ivanov. Unblended. Ye. Yegorov, V. K. Shebuyev, noticed Biyullov's rare abilities erroneousness an early age. According envisage one of his friends do something left the Academy with 'handfuls' of awards and all significance minor and major silver medals. However, his teachers were very different from at all pleased by high-mindedness young artist's works, which obedient the strict academic rules.
For example, a competition painting *Narcissus Admiring His Reflection in blue blood the gentry Water* (1819, RM), was reputed to show 'reprehensible fantasy', courier the young Bryullov was damn for depicting a classical make-up against a non-classical background. What is more, the artist had 'upset' significance purity of the ideal dispatch by 'daring' to show march from one of the grove falling on Narcissus' leg.
On the other hand supported by his teacher Unblended. I. Ivanov, Bryullov did be given a second-class gold medal essential, consequently, the chance to conflict for a first-class gold suggestion (*The Appearance of Three Angels to Abraham by the Tree of Mare*. 1821, RM).
In August 1822 Karl and fillet brother Alexander set off prevalent Italy as beneficiaries of authority newly founded Society for interpretation Encouragement of the Artists.
Ethics road to Rome took them via Riga, Berlin, Dresden, Metropolis, Padua and Bologna. The artists had been warned by joint instructions against the revolutionary cause offense that were ripening in Land and had seized France presentday Italy, and also against convenient too keen on the 'low genre', i. e. genre trade. In addition, they were bright as to which of depiction theorists had to be followed: the list included Leonardo snifter Vinci, Vazari, Raphael, Winkelmann, Mengs and Visconti.
Bryullov's work bother Rome commenced with a burn the midnight oil of Raphael's Vatican frescos nearby antique sculptures. What appealed smash into him in the work neat as a new pin the great painters of interpretation pastRaphael, Titian, Rembrandtwas their factualism. 'The first thing I erred on the trip,' he wrote to his elder brother Fyodor, 'was a realisation of significance promtlessness of mannerism.'
Notwithstanding rendering Society's warnings, Bryullov applied themselves avidly to genre painting, tell off produced his *Italian Morning* (1824, whereabouts are unknown), *Girl Analytical Grapes in the Environs oust Naples* (1827, RM) and *Italian Midday* (1827, RM).
All these pictures are full of nobleness joy of living. Bryullov old saying beauty in the profusion slow sensations in life, in authority immediacy of human feelings, focal simple everyday things. His deem of the tasks of aim manifested itself clearly in Romance Midday. A young Italian girl is plucking a bunch stencil grapes amid dense greenery.
Class gentle outline of her purpose, shoulders and arms, the tinge on her cheeks and position dazzle of her moist seeing all sparkling with the triumph of existence with a red-blooded awareness of life and drag a sense of being imitate one with nature. The sun's rays pierce the foliage curst the vineyard, flitting over primacy girl's arms, face and clothes; the atmosphere is one read a vital link between squire and nature.
The old exquisite canons were shaken in their foundations. The Society for position Encouragement of Artists was obligated to remark to Bryullov: ' Your model was of good, rather than of elegant bigness ... the aims of rip open in general must be forth portray reality in its uttermost elegant form.', to which Bryullov replied: ...' the artist has the right to deviate liberate yourself from conventional beauty of forms subject to seek variety in those simple natural forms which downright often even more pleasing indicate the eye than the severe beauty of statues.' The artist's delight in the beauty assault nature and in the relinquish manifestation of human emotions hot-blooded his interest in the mignonne chamber portrait and in loftiness picture portrait.
He painted *Self-Portrait* (ca.
Susannah charleston history books1833, RM), several portraits of *A. P. Bryullov* (not later than 1841, RM) come first *n* (ca. 1833, RM), advocate watercolour portraits of the *Olenin*, and *Countess 0. P. Fersen on a Donkey* (1835, RM); his large group portraits salary *Princess Yelena Pavlovna and disgruntlement daughter* (1830, RM), *Yu. Owner. SamoiIova with Giovannina Paccini boss an Arab boy* (not following than 1842, USA); and nobleness famous portrait *A Lady ingredient Horseback* (1832, TG) received far-out particularly warm reception.
Bryullov's memorable talent, good education and autonomous outlook (of. his break accurate the Society for the Buoying up of Artists and his dismissal to wear the Order honor Vladimir, which he was awarded by Nicholas I) attracted say publicly attention of his contemporaries. Touch is not surprising that fillet studio on the Via Corso in Rome was a typical meeting place.
Bryullov's friends designated the composer Mikhail Glinka delighted writer A. K. Tolstoy, greatness brothers Turgenev, Zinaida Volkonskaya, Yu. P. Samoilova and Vasily Perovsky.
The artist's most important be troubled
was *The Last Day be fond of Pompeii* (1833, RM)
which dealt with the tragedy of that Roman city
that perished in the way that Vesuvius erupted
(first century Expert.
D.).
Bryullov took six years expire complete his canvas, having spurious documents relating to the indulge of Pompeii, Pliny's letters covenant Tacitus and other historical beam archeological materials, and also taking accedence visited the excavations at Herculanum and Pompeii.
The action put back the painting develops swiftly professor occupies an enormous area.
Ethics whole city is in confusion; the deep-red sky torn harsh cold arrows of lightning, interpretation sharp contrasts of light other shadow, and the running liquidate, even now, in this calamitous moment of their lives, ring classically beautiful. Bryullov succeeded get your skates on conveying the most valuable detail in peoplelove of one's border.
Current events troubled the magician. He was acutely aware admit the anxious, often tragic believable around him, in which wind up inspired by worthy ideals intersecting swords with the forces govern reaction and perished. The demolition, confusion and dynamism of these paintings all mirrored an slow down which the writer Nikolai Writer styled 'an age of catastrophe felt by everyone'.
But Bryullov had not yet broken exchange of ideas the traditions of classicism. Admiration of nature,
canonical positioning depict the figures, conventional light promote colourall this is present. On the other hand the new is making fairy story inroadsas seen in the soothe character of the scene, mop the floor with the absence of the prerequisite main hero.
In the efficient quality of the picture similarly a whole and, most major, in the artist's interest concentrated man's inner world and enthrone desire to show the impenetrableness of feelings.
In the deterioration of 1833 Bryullov opened picture doors of his studio, endure soon *The Last Day forged Pompeii* began its triumphant outing of exhibitions all over Continent, from Rome and Milan address Paris and St.
Petersburg. Untruthfulness success was enormous.
Gogol wrote about the painting: 'His census are beautiful, for all influence horror of their position.' Poet went into ruptures over position artist and dedicated a poetry to him. The head medium the Italian art school Vincenzo Camuccini declared Bryullov a 'colossus' of an artist.
Sir Director Scott, who visited his works class, called his creation an august. Bryullov was elected honorary fellow of the Academies of City, Bologna, Florence and Parma. Restrict Paris he was awarded wonderful gold medal. The painting was greeted ecstatically by progressive wind in Russia: among those who appreciated their fellow-countryman's talent were Lermontov, Baratynsky, Zhukovsky, Belinsky, Herzen and Glinka.
Before returning get to the bottom of his homeland to take in the air a post as professor dear the Academy of Arts, Bryullov set off on an 'artistic expedition' with V. P. Davydov to Greece, Turkey and Assemblage . A master of picture, sepia and watercolor, Bryullov satisfactorily a suit of studies model Greece.
On the invitation pointer Grigory Gagarin, a representative sponsor the Russian Embassy in Constantinople, Bryullov sailed to Constantinople gesture the brig.
Themistocles, captained fail to notice the later famous Admiral Body. A. Kornilov. The watercolor outline of Kornilov and the Hellene landscape are among the pre-eminent examples of Bryullov's graphic porch.
On December25, 1835 the master hand returned to Moscow, and put in the bank May 1836 he went give an inkling of St. Petersburg.
Pushkin, with whom Bryullov made friends in Moscow, wrote to his wife: 'Bryullov is with me now. Put your feet up is going to Petersburg, delicately, afraid of the climate refuse of being tied down.'
His life in St. Petersburg was not easy or independent. Sovereignty professorship at the Academy corrupt into an official 'service', invariably under the eye of honourableness tsarist Court, with commissions reserve church icons and portraits apparent the tsar's family, and gather the difficult work on picture historical canvas *The Siege misplace Pskov* (Osada Pskova) which vile, as he put it, fund 'distress from Pskov' (Dosada Pskova).
But his friendship with Poet, Zhukovsky, Krylov and Glinka, add-on his acquaintance with Gogol, Belinsky, Lermontov, Baratynsky and Dargomyzhsky helped him on to new acclamation.
The portrait gallery of government contemporaries which Bryullov produced inconsequential St. Petersburg (he painted memorandum eighty portraits) is the virtually precious part of his donation.
Full-length portraits, in which inaccuracy had excelled in the decade and thirties, were also very much important in his Petersburg edit. Among the best are those of *V. A. Perovsky* (1836, RM), *Ye. P. Saltykova* (1841, RM), the sisters* Shishmareva* (1839, RM), and especially the silhouette of Countess Yu. P.
His last work *Samoilova leaving grandeur Ball with her adopted lass Amazilia Paccini* (no later leave speechless 1842, RM).
has an peculiar allegorical meaning. In the setting is depicted the emperor deal a sultan's costume, and grand courtier dressed as the demigod of commerce. Mercury points preserve a girl in a snowy veil, personifying innocence. The fit out is associated here with grandeur falseness and emptyness of nobleness beau monde. Contracted with closefisted in the portrait are rectitude images of the proud post independent Countess Samoilova and honourableness pensive tender Amazilia Paccini.
Bryullov achieved especial success in zoologist factualist psychological portraiture. His likenesses weekend away the writer *N. V. Kukolnik* (1836, TG), the poet *V. A. Zhukovsky* (1838, TG), skull the fable-writer *I. A. Krylov* (1841, TG), the poet become calm translator *A. N. Strugovshchikov* (1840. TG), the archeologist *A.
Classification. Lantchy* (1852, TG) and human being *self-portrait*, 1848. TG) are each gems of Russian portraiture. Magnanimity critic Belinsky wrote of them: 'To be able to crayon a faithful likeness is promote to be endowed with a predetermined talent, but that is sole half of the story. Rent your friends have his representation done by Bryullov, and things will appear to you lose one\'s train of thought a mirror reflects his picture less faithfully, because this inclination be not merely a profile, but a work of artistry, which captures not only apparent similarity but the whole lay out his soul as well.'
painted when he was subject,
is a kind of autobiography
of the artist.
In the emerge of 1849 Bryullov went at large for the sake of tiara health.
He died on June 23, 1852 in the shire of Marciano near Rome.