Jump to content

Karl Bryullov

From Wikipedia, the free encyclopedia
In this name that followsEastern Slavic naming customs,thepatronymicisPavlovichand thefamily nameisBryullov.
Karl Bryullov
Карл Брюллов
Self-portrait (1848)
Born
Charles Bruleau

(1799-12-12)12 December 1799
St. Petersburg,Russian Empire
Died11 June 1852(1852-06-11)(aged 52)
Manziana,Papal State
Resting placeProtestant Cemetery,Rome
NationalityRussian
Alma materImperial Academy of Arts (1821)
Known forPaintinganddraughtsmanship
MovementRomantic
AwardsBig Gold Medal of the Imperial Academy of Arts (1821)
ElectedProfessor by rank (1836)

Karl Pavlovich Bryullov,alsoBriullovorBriuloff,bornCharles Bruleau[1][2](Russian:Карл Па́влович Брюлло́в;23 December [O.S.12 December] 1799 – 23 June [O.S.11 June] 1852) was a Russian painter. He is regarded as a key figure in transition from the Russianneoclassicismtoromanticism.

Biography[edit]

Karl Bryullov was born on 12 (23) December 1799 inSt. Petersburg,[3]in the family of the academician, woodcarver, and engraver Pavel Ivanovich Briullo (Brulleau, 1760—1833) who was ofHuguenotdescent. He felt drawn toItalyfrom his early years. Despite his education at theImperial Academy of Arts(1809–1821), Bryullov never fully embraced theclassicalstyle 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 leftRussiaforRomewhere 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 byPushkinandGogolto the best works ofRubensandVan 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.

An anecdote concerning Bryullov appeared inLeo Tolstoy's essay "Why Do Men Stupefy Themselves?"and later in the same author's bookWhat Is Art?.

While teaching at the academy (1836–1848) he developed a portrait style which combined aneoclassicalsimplicity with aromantictendency that fused well, and his penchant forrealismwas satisfied with an intriguing level of psychological penetration. While he was working on theplafondofSt Isaac's Cathedral,his health suddenly deteriorated. Following advice of his doctors, Bryullov left Russia forMadeirain 1849 and spent the last three years of his life inItaly.He died in the village ofManziananearRomeand is buried at theCimitero Acattolicothere.

Characteristics of art[edit]

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 Repinin the second half of the 19th century. Bryullov had an enormous influence on Russian artists, among whom he had many followers and imitators.[4]

Selected artwork[edit]

See also[edit]

References and notes[edit]

  1. ^Karl Pavlovich Bryullovat theEncyclopædia Britannica
  2. ^Agnieszka Świętosławska (2015)."Emigration as an artistic turning point – Ignacy Szczedrowski, Konstanty Kukiewicz and Tadeusz Gorecki at the Imperial Academy of Arts in Saint Petersburg".Art Inquiry(17). Łódzkie Towarzystwo Naukowe: 321–345.
  3. ^Karl Pavlovich Bryullovat theEncyclopædia Britannica
  4. ^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.

Literature[edit]

External links[edit]

Wikimedia Commons has media related toKarl Bryullov.

Retrieved from "https://en.wikipedia.org/w/index.php?title=Karl_Bryullov&oldid=1227965801"