Karl Pavlovich Bryullov[a] (néBryullo;[1]Russian:Карл Па́влович Брюлло́в; 23 December [O.S. 12 December] 1799 – 23 June [O.S. 11 June] 1852) was aRussian painter and draughtsman during theRomantic period, remembered among the greatest visual artists in the history ofRussian art.
Karl Bryullov was born on 12 (23) December 1799 inSt. Petersburg,[2] in the family of the academician, woodcarver, and engraver Pavel Ivanovich Briullo (Brulleau, 1760—1833) who was ofHuguenot descent. He felt drawn toItaly from his early years. Despite his education at theImperial Academy of Arts (1809–1821), Bryullov never fully embraced theclassical style taught by his mentors and promoted by his brother,Alexander Bryullov. After distinguishing himself as a promising and imaginative student and finishing his education, he leftRussia forRome where he worked until 1835 as a portraitist and genre painter, though his fame as an artist came when he began doing historical painting.
His best-known work,The Last Day of Pompeii (1830–1833), is a vast composition compared byPushkin andGogol to the best works ofRubens andVan Dyck. It created a sensation in Italy and established Bryullov as one of the finest European painters of his day. After completing this work, he triumphantly returned to the Russian capital, where he made many friends among the aristocracy and intellectual elite and obtained a high post in theImperial Academy of Arts.
While teaching at the academy (1836–1848) he developed a portrait style which combined aneoclassical simplicity with aromantic tendency that fused well, and his penchant forrealism was satisfied with an intriguing level of psychological penetration. While he was working on theplafond ofSt Isaac's Cathedral, his health suddenly deteriorated. Following advice of his doctors, Bryullov left Russia forMadeira in 1849 and spent the last three years of his life inItaly. He died in the village ofManziana nearRome and is buried at theCimitero Acattolico there.
Bryullov's work is the pinnacle of late Russian Romanticism when the sense of harmonic wholeness and beauty of the world is replaced by a feeling of tragedy and conflict of life. In the forefront of the historical picture, but its main theme - not the struggle of heroes, as in classicism, and the fate of the huge human masses. In his central work "The Last Day of Pompeii" Bryullov combined the drama of action, romantic lighting effects and sculptural plasticity of figures. The painting brought the artist great fame both in Russia and in Europe.
An outstanding master of both ceremonial and chamber portraits, Bryullov evolved in his art from the joyful embrace of life in his early works to the intricate psychologism of his later ones, thus anticipating the achievements of such artists likeIlya Repin in the second half of the 19th century. Bryullov had an enormous influence on Russian artists, among whom he had many followers and imitators.[3]
Portrait of Countess Julia Pavlovna Samoilova moving away from the ball with her adopted daughter Amazilia Pacini (Masquerade). Not later than 1842. Russian Museum
^Gosudarstvennyĭ russkiĭ muzeĭ; Государственный русский музей (1999).Karl Pavlovich Bri︠u︡llov, 1799-1852 : zhivopisʹ, risunki i akvareli iz sobranii︠a︡ Russkogo muzei︠a︡. V. A. Gusev, E. N. Petrova, G. N. Goldovskiĭ, В. А. Гусев, Е. Н. Петрова, Г. Н. Голдовский. [Saint Petersburg]: Palace Editions.ISBN5-93332-011-0.OCLC44796988.
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