Bryullov Karl Pavlovich (1799-1852)

None of European artists was not awarded such a grandiose triumph in the 19th century as befell the young Russian painter Karl Pavlovich Bryullov, when in mid-1833 he opened the doors of his Roman workshop to spectators with a newly completed painting" ". Like Byron, he had the right to say about himself that one fine morning he woke up famous. The word "success" is not enough to characterize the attitude towards it picture. There was something more at hand - painting caused among the audience an explosion of delight and admiration for the Russian artist, who seemed to have discovered new page in the history of world art.

Autumn 1833 painting appeared on exhibition V Milan. Here the triumph of the Russian master reached its highest point. Everyone wanted to see the work “that all of Rome is talking about.” Italian newspapers and magazines published rave reviews about " The last day of Pompeii"and its author. Just as the great masters of the Renaissance were once honored, so now they have begun to honor Bryullov. He became the most famous person in Italy. He was greeted with applause on the street and given a standing ovation in the theater. Poets dedicated poems to him. When traveling at the borders of the Italian principalities, he was not required to present a passport - it was believed that every Italian was obliged to know him by sight.

In 1834, "" was exhibited at the Paris Salon. French Academy arts awarded Bryullov gold medal . One of the first biographers Bryullov, N.A. Ramazanov, says that, despite the envious rumors of some French artists, the Parisian public mainly focused its attention on " The last day of Pompeii"and with difficulty and reluctance left this paintings".

Never before has the glory of Russian art spread so widely throughout Europe. Even greater celebration awaited Bryullov at home.

Brought to St. Petersburg in July 1834 and exhibited first in the Hermitage and then at the Academy of Arts, it immediately became the center of attention of Russian society and became a subject of patriotic pride.

“Crowds of visitors, one might say, burst into the halls of the Academy to look at Pompeii,” says a contemporary. In his official annual report Academy of Arts admitted Bryullovskaya picture the best creation 19th century. Widely distributed engraved playback "Last day Pompeii". They smashed glory Bryullov throughout the country, far beyond the capital. The best representatives of Russian culture enthusiastically welcomed picture. Pushkin wrote:

Vesuvius opened its mouth - smoke poured out in a cloud, flames

Widely developed as a battle flag.

The earth is agitated - from the shaky columns

Idols fall! A people driven by fear

Under the stone rain, under the inflamed ashes,

Crowds, old and young, are running out of the city.

Gogol wrote about " The last day of Pompeii"an extensive article in which he acknowledged this picture“a complete universal creation,” where everything is “so powerful, so bold, so harmoniously combined into one, as only it could arise in the head of a universal genius.”

Bryullov's painting raised an unusually high interest in painting in the most wide circles Russian society. Incessant talk about " The last day of Pompeii"in the press, in correspondence, in private conversations, they clearly showed that a work of painting can excite and touch people no less than literature. The increasing social role of fine art in Russia began precisely with the Bryullov celebrations.

History painting, which has long occupied a leading place in academic art, turned primarily to subjects taken from the Bible and Gospel or from ancient mythology. But even in cases where plot paintings was not a legendary tale, but a real historical event, the painters of the Academy were, in essence, very far from historical authenticity in their understanding and interpretation of what was depicted. They did not seek historical truth, because their goal was not to recreate the past, but to embody one or another abstract idea. In their paintings historical figures took the form of conventional “ancient heroes,” regardless of whether the event was depicted in ancient Roman or Russian history.

" paved the way for a completely different understanding and interpretation of the historical topic.

In search of life's truth Bryullov, the first among Russian artists, set himself the goal of recreating in picture real event past, based on the study historical sources and archaeological data.

In comparison with the fantastic "archaeology" of its predecessors Bryullov this external historicism was in itself a serious innovative achievement. However, they do not exhaust the meaning Bryullovsky paintings. Archaeological authenticity served Bryullov only a means for a deeper disclosure of the topic, for expressing modern attitude to the past.

"Thought paintings belongs entirely to the taste of our age, which, as if feeling its terrible fragmentation, strives to unite all phenomena in general groups and chooses strong crises, felt by the whole mass,” wrote Gogol, revealing the content of “ The last day of Pompeii".

Unlike the previous historical painting with its hero cult and emphasis on the individual as opposed to the impersonal crowd, Bryullov conceived "" as a mass stage in which the only and true hero would be the people. All the main characters in picture are almost equivalent exponents of its theme; meaning paintings is embodied not in the depiction of a single heroic act, but in an attentive and accurate transmission of the psychology of the masses.

At the same time Bryullov with deliberate and even sharp straightforwardness, he emphasizes the main contrasts in which the idea of ​​​​the struggle between the new and the old, life with death, the human mind with the blind power of the elements is expressed. Everything is subordinated to this thought ideological And artistic solution paintings, from here come its features that determined the place " The last day of Pompeii"in Russian art of the 19th century.

Subject The paintings are taken from ancient Roman history. Pompey(or rather Pompeii) - an ancient Roman city located at the foot of Vesuvius - on August 24, 79 AD, as a result of a powerful volcanic eruption, it was filled with lava and covered with stones and ash. Two thousand residents (of which there were about 30,000 in total) died on the streets of the city during a stampede.

For more than one and a half thousand years, the city remained buried underground and forgotten. Only at the end of the 16th century, during excavation work, a place was accidentally discovered where a lost Roman settlement had once been located. Since 1748, archaeological excavations began, especially intensified in the first decades of the 19th century. They aroused increased interest in artistic circles not only in Italy, but throughout the world. Each new discovery became a sensation among artists and archaeologists, and the tragic topic and Pompeii At the same time it was used in literature, painting and music. Opera appeared in 1829 Italian composer Paccini, in 1834 - historical novel English writer Bulverlitton Last days of Pompeii". Bryullov was the first to turn to this topic: sketches of his future paintings date back to 1827-1828.

Bryullov was 28 years old when he decided to write "". The fifth year of his retirement in Italy was ending. He already had several serious works under his belt, but none of them seemed to the artist quite worthy of his talent; he felt that he had not yet lived up to the hopes that were placed on him.

From Bryullov were waiting big historical painting - specifically historical, because in the aesthetics of the early 19th century this type of painting was considered the highest. Without breaking with the dominant aesthetic views of his time, Bryullov and he himself sought to find a plot that corresponded to the internal possibilities of his talent and at the same time capable of satisfying the requirements that could be presented to him modern criticism and the Academy of Arts.

Looking for such a story Bryullov I hesitated for a long time between themes from Russian history and ancient mythology. He intended to write picture "Oleg nails his shield to the gates of Constantinople", and later outlined a plot from history Peter the Great. At the same time, he made sketches on mythological themes (" Death of Phaeton", "Hylas, stolen by nymphs"and others). But mythological themes, highly valued at the Academy, contradicted the realistic tendencies of the young Bryullov, and for the Russian theme, being in Italy, he could not collect material.

Subject destruction of Pompeii resolved many difficulties. The plot itself, if not traditional, was still undoubtedly historical, and from this side it satisfied the basic requirements of academic aesthetics. The action was supposed to unfold against the backdrop of the ancient city with its classical architecture and monuments ancient art; the world of classical forms thus entered into picture without any deliberateness, as if by itself, but the spectacle of raging elements and tragic death opened access to romantic images in which the painter’s talent could find new, never-before-seen possibilities for depiction big feelings, passionate emotional impulses and deep emotions. It is not surprising that the topic captivated and captured Bryullov: it combines all the conditions for the most complete expression of his thoughts, knowledge, feelings and interests.

Sources based on which Bryullov solved his topic, genuine ancient monuments appeared, discovered in the lost city, the works of archaeologists and descriptions disasters V Pompeii, made by a contemporary and eyewitness, Roman writer Pliny the Younger.

Working on " The last day of Pompeii" dragged on for almost six years (1827-1833), and is evidence of deep and intense creative quest Bryullov There are numerous drawings, studies and sketches that clearly show how the artist’s idea developed.

Among these preparatory work The sketch of 1828 occupies a special place. In terms of the power of artistic influence, it is perhaps not inferior to picture. True, the sketch remained not completely finalized, individual images and characters were only outlined in it, and not fully revealed; but this external incompleteness is uniquely combined with deep internal completeness and artistic persuasiveness. The meaning of individual episodes, subsequently developed in detail in picture, here it seems to dissolve in a general passionate impulse, in a single tragic feeling, in the integral image of a dying city, powerless against the pressure of the elements falling on it. The sketch is based on the romantically understood idea of ​​man’s struggle with fate, which here is personified by the elemental forces of nature. Death approaches with inevitable cruelty, like ancient rock, and man with all his mind and will is unable to resist fate; all he can do is face his inevitable death with courage and dignity.

But Bryullov did not dwell on this solution to his topic. He was not satisfied with the sketch precisely because the notes of hopeless pessimism, blind submission to fate and disbelief in human strength sounded so persistently in it. Such an understanding of the world stood outside the traditions of Russian culture and contradicted its healthy folk foundations. The life-affirming power inherent in talent Bryullov, could not come to terms with " The last day of Pompeii", demanded exit and permission.

Bryullov found this way out by contrasting the spiritual greatness and beauty of man with the destructive elements of nature. For him, plastic beauty turns into a powerful force that affirms life in the face of death and destruction. “... His figures are beautiful despite all the horror of their situation. They drown it out with their beauty,” wrote Gogol, who subtly noticed the main idea Bryullovsky paintings.

In an effort to express the diversity psychological states and shades of feelings that gripped the inhabitants of the dying city, Bryullov built my own picture as a cycle of separate, closed episodes, not connected by plot. Their ideological meaning becomes clear only when simultaneously looking at all groups and independent plot motives, components of "".

The idea of ​​beauty triumphing over destruction is expressed with particular clarity in the group of figures crowded on the steps of the tomb on the left side paintings. Bryullov deliberately combined here the images of blooming strength and youth. Neither suffering nor horror distorts their ideally beautiful features; On their faces one can read only an expression of surprise and anxious anticipation. Titanic power is felt in the figure of the young man, making his way through the crowd with a passionate impulse. It is characteristic that this world of beautiful classical images inspired antique sculpture, Bryullov adds a noticeable touch of realism; many of his characters are undoubtedly drawn from life, and among them the self-portrait of himself stands out Bryullov, who portrayed himself as a Pompeian artist who, fleeing the city, takes with him a box of brushes and paints.

In the main groups on the right side paintings The main motives are those that emphasize the spiritual greatness of a person. Here Bryullov concentrated examples of courage and selfless performance of duty.

In the foreground there are three groups: “two young Pompeians carrying their sick old father on their shoulders”, “Pliny with his mother” and “young spouses” - a young husband supporting his wife, who is falling in exhaustion, crowned with a wedding wreath. However, last group psychologically almost not developed and has the character of a compositional insertion necessary for rhythmic balance paintings. Much more meaningful is the group of sons carrying their father: in the image of an old man, majestically extending his hand, proud inflexibility of spirit and stern courage are expressed. In the depiction of the youngest son, a black-eyed Italian boy, one feels an accurate and direct sketch from life, in which a living realistic feeling is clearly manifested Bryullov.

Realistic principles are expressed with particular force in the remarkable group of Pliny and his mother. In sketches and early sketches, this episode is developed in classical forms, emphasizing the historicity and antique nature of the scene. But in picture Bryullov decisively departed from the original plan - the images he created amaze with their unbiased and genuine vitality.

IN center paintings there is a prostrate figure of a young woman who was killed when falling from a chariot. It can be assumed that in this figure Bryullov wanted to symbolize the entire dying ancient world; A hint of such an interpretation is also found in the reviews of contemporaries. In accordance with this intention, the artist sought to find the most perfect classical embodiment for this figure. Contemporaries, including Gogol, saw in her one of the most poetic creatures Bryullov.

Not all episodes are equally important for the development of the theme, but in their alternation and comparison the main idea is persistently revealed Bryullov about the struggle of life with death, about the triumph of reason over the blind forces of the elements, about the birth of a new world on the crumbling ruins of the old.

It is no coincidence that next to the central figure murdered woman the artist depicted a beautiful baby as a symbol of the inexhaustible power of life; It is no coincidence that the images of youth and old age are contrasted in the groups of Pliny with his mother and sons carrying an elderly father; Finally, the emphasized contrast between the “pagan”, anciently beautiful crowd on the steps of the tomb and the majestically calm “family of Christians” is not accidental. IN picture there is both a pagan priest and a Christian priest, as if personifying the departing ancient world and the Christian civilization emerging on its ruins.

The images of the priest and priest are perhaps not deep enough; their spiritual world is not shown in picture and the characterization remained largely external; this subsequently gave V.V. Stasov a reason to severely reproach Bryullov because he did not use the opportunity to sharply contrast the decrepit, dying Rome and young Christianity. But the thought of these two worlds is undoubtedly present in picture. With simultaneous and integral perception paintings The organic connection of its constituent episodes clearly appears. The shades of feelings and various mental states expressed in them, acts of valor and self-sacrifice, along with manifestations of despair and fear, are given in " The last day of Pompeii"towards a harmonious, harmonious and artistically integral unity.

Wonderful canvases. L., 1966. P.107

Restoration of the painting The Last Day of Pompeii

An exceptional event in the life of the Russian Museum was K. P. Bryullova"". Numerous previous restorations only delayed the moment of beginning fundamental work on the canvas - the canvas of the painting “burned out” and became fragile; in places where the canvas had been broken, there were 42 patches that appeared on the front side; the loss of the paint layer was tinted with the addition of the original painting; The varnish coating has changed greatly in color. After strengthening, the painting was transferred to a new canvas. This wonderful work was done by the restorers I. N. Kornyakova, A. V. Minin, E. S. Soldatenkov; advised by S. F. Konenkov.

Painting by K. P. Bryullov “The Last Day of Pompeii” entered the Russian Museum from the Hermitage in 1897. After a major restoration in 1995, the painting was stretched onto a previously repaired designer stretcher and returned to the exhibition.

The decision to begin restoration of the painting was made at a meeting of the expanded Restoration Council of the State Russian Museum on March 15, 1995.

At the beginning of the work, it was strengthened with preventive paper gluing and then the canvas was removed from the author's stretcher. After this, the painting was stretched over the edges on the marble floor with the colorful surface down and the back side was cleaned of surface dirt. From the back side, two layers of ancient restoration duplicating edges were removed, which were the cause of severe deformations of the canvas along the edges, and more than 40 restoration patches that stood in place of old breaks in the canvas. Places over hundreds of losses of the author's canvas, especially numerous along the edges, were repaired with inserts of new canvas. After this, the painting was duplicated onto a new canvas, identical in character and quality to the author’s, ordered in Germany. Places where the paint layer was lost were filled with restoration primer and tinted with watercolors. The designer varnish is completely restored by regeneration with alcohol vapor.

In the process of work, methods for strengthening the paint layer and soil over a large space were developed. An important result of the work was the development of new devices that facilitate and simplify the process of technical restoration. According to a special project, a durable duralumin subframe was created with a system of special fastenings for stretching the duplicating canvas. This system made it possible to repeatedly tighten the canvas to the desired tension during the work.

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The famous painting by Karl Bryullov “The Last Day of Pompeii” was painted in 1830-1833. In this epic canvas, the painter captured the death of the city of Pompeii due to the eruption of Mount Vesuvius in 79 AD.

In search of authenticity, Bryullov visited the excavations of the lost city. The figures and faces of people were created by the painter from life, from the inhabitants of Rome. Almost all the objects depicted in the picture were painted by the artist from original items stored in the Naples Museum.

Bryullov paints a truly hellish picture. In the distance, a volcano is burning, from the depths of which streams of fiery lava flow in all directions. Reflections of flame from burning lava illuminate with a reddish glow back canvases. A flash of lightning, cutting through a cloud of ash and burning, illuminates the front of the picture.

In his painting, Bryullov uses what was bold for its time color scheme. The painter pays the closest attention to aerial perspective - he manages to create a feeling of deep space.

Before us is a whole sea of ​​human suffering. per hour real tragedy are exposed human souls. Here is a man, protecting his loved ones, desperately raising his hand, as if trying to stop the elements. The mother, passionately hugging her children, looks at the sky with a plea for mercy. Here the sons are trying to carry their weak old father away from danger on their shoulders. A young man persuades his fallen mother to gather her strength and run. In the center of the picture are a dead woman and a baby reaching out to the lifeless body of the mother.

The painting “The Last Day of Pompeii” reminds the viewer that the main value of the world is man. The artist contrasts his physical beauty and spiritual greatness with the destructive forces of nature. The picture caused an explosion of admiration and admiration, both in Italy and in Russia. The work was enthusiastically welcomed by A.S. Pushkin and N.V. Gogol.

In addition to the description of K. P. Bryullov’s painting “The Last Day of Pompeii”, our website contains many other descriptions of paintings by various artists, which can be used both in preparation for writing an essay on the painting, and simply for a more complete acquaintance with the work of famous masters of the past .

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Man always strives for beauty, this is his essence. He also eagerly studies the past, learns lessons from it, works on mistakes, because without this the future is impossible. An example of this combination of art and history is the painting “The Last Day of Pompeii”, painted by a brilliant artist in 1830-1833. What is depicted on it, how the painter worked and what he wanted to convey, we will consider in our article.

A few words about the author

The painting “The Last Day of Pompeii” was painted in the first half of the nineteenth century by Karl Bryullov. Born in St. Petersburg into the family of an academician sculptor, he was imbued with a passion for art from childhood. Studied with the best masters of that time, he traveled a lot, often visited Italy, where he lived and worked.

Most of his paintings are written in the historical and portrait genres. The work to which our article is devoted was awarded the Grand Prix in Paris. It should be noted that the painter’s contemporaries appreciated his work. Even during Bryullov’s lifetime, his canvases received the most enthusiastic reviews. The most famous works- “Horsewoman”, “Siege of Pskov”, “Portrait of the archaeologist Michelangelo Lanci” and others. And in 1862, a sculpture dedicated to the millennium of Russia was erected in Novgorod to the best cultural figures. Among the sixteen figures in the composition, there was also a place for Karl Bryullov.

The story of a masterpiece

The history of the painting “The Last Day of Pompeii” is known to us, so we are happy to share it with the reader.

As we mentioned earlier, Bryullov often visited Italy, where he worked a lot. By the way, he died on this earth, and his body found its final resting place there. In 1827, the painter visited the excavations of an ancient Roman city located near Naples. The settlement was buried by the lava of Vesuvius, which suddenly woke up. This moment was precisely captured in the picture.

Pompey greeted the last day with a bustling life. Unfortunately, the inhabitants of a small but very wealthy town were unable to escape. Most of them died from the hot volcanic mass, others suffocated from toxic fumes and ash. And only a few managed to escape. But the volcano rendered an invaluable service to humanity - it seemed to preserve the life of that time, preserving the homes of the nobility, wall paintings, mosaic floors, paintings, and flowers in their original form. While clearing the area of ​​dust, ash, dirt and earth, archaeologists find large number objects, and the city itself today is an open-air museum.

Preparing for work

The painting “The Last Day of Pompeii” was painted by Bryullov after careful study of that era. The artist visited the excavations several times, trying to remember the location of the buildings, every pebble. He read the works of ancient historians, in particular the works of Pliny the Younger, an eyewitness to the tragedy, and studied costumes in museums and household items. This allowed him to realistically depict the life of Italian society at the time of the volcanic eruption, as well as convey the feelings of people who were about to die from the elements.

Rejected Labor

Finally, Bryullov decided that he was ready for the titanic work and began painting the canvas. It took him three years to create a masterpiece measuring 4.5 x 6.5 meters. He was enthusiastically greeted in Italy, France, and Russia. At his native Academy of Arts, Karl was carried in his arms into the hall where his painting was already hanging. Last day (Pompey could not even imagine then that it would be her last) famous city will now forever remain in the memory of mankind, and he himself has risen from oblivion. Let's look at the canvas, conditionally dividing it into two parts.

Right side of the picture

Bryullov’s painting “The Last Day of Pompeii” captivates with its perfection, storm of emotions, drama and harmony of colors. On the right side, the artist depicted a group of people united common grief. This is a young guy and a boy who are carrying their sick father in their arms, a young man who is trying to save his mother, but she orders him to leave her and run away himself. Presumably, that same young man is Pliny the Younger, who brought to us sad story Pompeii.

The painting “The Last Day of Pompeii” also depicts a couple: the young man carries the bride in his arms and peers into her face - is she alive? Behind them one can see a rearing horse with a rider on its back, falling houses decorated with statues. And above the unfortunate people lies a sky dark with smoke and ash, clouds cut by lightning, and a stream of fiery lava.

Left side of the masterpiece

We continue our description of the painting “The Last Day of Pompeii”. On the left, Bryullov depicted the steps leading to the tomb of Scaurus. Another group of people gathered at them: a woman looking directly at the viewer, an artist with paints in a box on his head, a mother with two girls, a calm Christian priest, a pagan priest with jewelry under his arm, a man covering his wife and small children with a cloak.

Another “hero” of the canvas is light, or more precisely, its effects. The cold shade of lightning contrasts with the glow of the volcano. Against its background, the panorama of the dying city looks very tragic and realistic.

Analysis of the painting “The Last Day of Pompeii”

Bryullov skillfully selected colors that helped him depict the picture very realistically. The canvas is dominated by shades of red - people’s clothes, the glow, flowers on the bride’s head. In the center of the canvas, the artist used greenish, bluish and yellowish tones.

Finishing the description of the painting “The Last Day of Pompey” (as some mistakenly call the painting), let’s try to analyze it, find hidden meaning. The viewer should pay attention to the fact that people seem to freeze, as if they are posing for a painter. Their faces are not disfigured by pain; even the girl lying on the ground is beautiful. People's clothes are clean, there is no blood visible on them. This is the principle of convention, with the help of which the painter shows that man is the most beautiful creature on Earth. It is striking that many of the characters in the picture, in moments of danger, think not only about themselves, but also about others.

Bryullov moved away from the rules of realism, following the foundations of classicism. He paints not the usual crowd that is trying to leave the city in panic, but orderly groups of people with similar faces, but different poses. Thus, the master conveyed feelings through movement and plasticity. But the master brings a lot of new things into art, breaks the accepted rules, which is why the canvas only benefits. The artist uses restless light, which gives sharp shadows, a plot full of tragedy. The film intertwines two themes - the height of the human spirit, love, self-sacrifice, heroism and disaster, which led to the death of not only the city, but also the entire culture.

Instead of a conclusion

The picture created by the genius of art is both beautiful and terrible. Yes, man is powerless before the elements, which know no barriers in their power. However, he can and must remain a Man with capital letters. Not everyone is capable of this, but it is something we should strive for. Such conflicting feelings cover everyone who looks at the canvas depicting the last days ancient city. And see famous painting today everyone can by visiting the State Russian Museum.

Karl Bryullov. Last day of Pompeii. 1833 State Russian Museum

The phrase “The Last Day of Pompeii” is known to everyone. Because the death of this ancient city was once depicted by Karl Bryullov (1799-1852)

So much so that the artist experienced an incredible triumph. First in Europe. After all, he painted the picture in Rome. Italians crowded outside his hotel to have the honor of welcoming the genius. Walter Scott sat in front of the painting for several hours, deeply amazed.

It’s hard to imagine what was going on in Russia. After all, Bryullov created something that immediately raised the prestige of Russian painting to unprecedented heights!

People came in droves to look at the painting day and night. Bryullov was awarded a personal audience with Nicholas I. The nickname “Charlemagne” firmly stuck to him.

Dared to criticize “Pompeii” only Alexander Benois, famous historian of art of the 19th and 20th centuries. Moreover, he criticized very viciously: “Effectiveness...Painting tailored to all tastes...Theatrical loudness...Crackling effects...”

So what struck the majority so much and irritated Benoit so much? Let's try to figure it out.

Where did Bryullov get the plot from?

In 1828, young Bryullov lived and worked in Rome. Shortly before this, archaeologists began excavating three cities that perished under the ashes of Vesuvius. Yes, yes, there were three of them. Pompeii, Herculaneum and Stabiae.

For Europe this was an incredible discovery. After all, before this, they knew about the life of the ancient Romans from fragmentary written evidence. And here are 3 cities, mothballed for 18 centuries! With all the houses, frescoes, temples and public toilets.

Of course, Bryullov could not ignore such an event. And he went to the excavation site. By that time, Pompeii was best cleared. The artist was so amazed by what he saw that he began work almost immediately.

He worked very conscientiously. 5 years. Most of his time was spent collecting materials and sketches. The work itself took 9 months.

Bryullov the documentarian

Despite all the “theatricality” that Benois talks about, there is a lot of truth in Bryullov’s film.

The location of the action was not invented by the master. There is actually such a street at the Herculanean Gate in Pompeii. And the ruins of the temple with the stairs still stand there.

The artist also personally studied the remains of the dead. And he found some of the heroes in Pompeii. For example, a dead woman hugging her two daughters.

Karl Bryullov. Last day of Pompeii. Fragment (mother with daughters). 1833 State Russian Museum

Wheels from a cart and scattered jewelry were found on one of the streets. So Bryullov came up with the idea of ​​depicting the death of a noble Pompeian woman.

She tried to escape on a chariot, but an earthquake knocked out a cobblestone from the pavement, and the wheel ran over it. Bryullov depicts the most tragic moment. The woman fell out of the chariot and died. And her baby, having survived the fall, cries next to his mother’s body.

Karl Bryullov. Last day of Pompeii. Fragment (dead noble woman). 1833 State Russian Museum

Among the discovered skeletons, Bryullov also saw a pagan priest who tried to take his wealth with him.

On the canvas he showed him tightly clutching attributes for pagan rituals. They consist of precious metals, so the priest took them with him. He does not look in a very favorable light compared to a Christian clergyman.

We can identify him by the cross on his chest. He bravely looks at the enraged Vesuvius. If you look at them together, it is clear that Bryullov specifically contrasts Christianity with paganism not in favor of the latter.

“Correctly” the buildings in the picture are also collapsing. Volcanologists claim that Bryullov depicted an earthquake of 8 points. And very reliably. This is exactly how buildings fall apart during earthquakes of such force.

Bryullov also thought out the lighting very well. The lava of Vesuvius lights up so brightly background, saturates the buildings with red color so much that they seem to be on fire.

At the same time foreground illuminated by white light from a flash of lightning. This contrast makes the space especially deep. And believable at the same time.

Karl Bryullov. Last day of Pompeii. Fragment (Lighting, contrast of red and white light). 1833 State Russian Museum

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Bryullov - theater director

But in the depiction of people, verisimilitude ends. Here Bryullov, of course, is far from realism.

What would we see if Bryullov was more realistic? There would be chaos and pandemonium.

We wouldn't have the opportunity to look at every character. We would see them in fits and starts: legs, arms, some lying on top of others. They would already be pretty dirty with soot and dirt. And the faces would be distorted with horror.

What do we see from Bryullov? Groups of heroes are arranged so that we see each of them. Even in the face of death they are divinely beautiful.

Someone is effectively holding back a rearing horse. Someone gracefully covers their head with dishes. Someone is holding it nicely loved one.

Yes, they are beautiful, like Gods. Even when their eyes are full of tears from the realization of imminent death.

But Bryullov does not idealize everything to such an extent. We see one character trying to catch falling coins. Remaining petty even at such a moment.

Karl Bryullov. Last day of Pompeii. Fragment (Picking up coins). 1833 State Russian Museum

Yes, this is a theatrical performance. This is a disaster, as aesthetically pleasing as possible. Benoit was right about this. But it is only thanks to this theatricality that we do not turn away in horror.

The artist gives us the opportunity to sympathize with these people, but not to strongly believe that in a second they will die.

It's more likely beautiful legend than the harsh reality. It's breathtakingly beautiful. No matter how blasphemous it may sound.

Personal in “The Last Day of Pompeii”

In the film you can also see Bryullov’s personal experiences. You can notice that all the main heroines of the canvas have the same face.

IN different ages, with different expressions, but this is the same woman - Countess Yulia Samoilova, the love of the painter Bryullov’s life.

Karl Bryullov. Countess Samoilova, leaving the ball of the Persian envoy (with her adopted daughter Amatsilia). 1842 State Russian Museum

They met in Italy. We even explored the ruins of Pompeii together. And then their romance dragged on, intermittently, for 16 long years. The relationship was free, that is, both he and she allowed themselves to be carried away by others.

Bryullov even managed to get married during this time. True, I quickly got divorced, literally after 2 months. Only after the wedding did he find out terrible secret his new wife. Her lover was own father, who wished to remain in this status in the future.

After such a shock, only Samoilova consoled the artist.

They separated forever in 1845, when Samoilova decided to marry a very handsome opera singer. Her family happiness it didn't last long either. Literally a year later, her husband died of consumption.

Samoilova married for the third time only with the goal of regaining the title of Countess, which she lost due to her marriage to the singer. All her life she paid a large allowance to her husband, without living with him. Therefore, she died in almost complete poverty.

Of the real people on the canvas, you can also see Bryullov himself. Also in the role of an artist who covers his head with a box of brushes and paints.

Karl Bryullov. Last day of Pompeii. Fragment (self-portrait of the artist). 1833 State Russian Museum

Let's summarize. Why “The Last Day of Pompeii” is a masterpiece

“The Last Day of Pompeii” is monumental in every way. A huge canvas - 3 by 6 meters. Dozens of characters. There are many details by which you can study ancient Roman culture.

“The Last Day of Pompeii” is a story of disaster, beautifully and effectively told. The characters played their roles selflessly. Special effects - on top level. The lighting is phenomenal. This is a theater, but very professional theater.

No one else in Russian painting could paint a disaster like that. In Western painting, “Pompeii” can only be compared with “The Raft of the Medusa” by Gericault.

Theodore Gericault. Raft of Medusa. 1793

K. P. Bryullov
Last day of Pompeii. 1830—1833
Oil on canvas. 465.5 × 651 cm
State Russian Museum, St. Petersburg

The Last Day of Pompeii is a painting by Karl Pavlovich Bryullov, painted in 1830-1833. The painting had unprecedented success in Italy, was awarded a gold medal in Paris, and was delivered to St. Petersburg in 1834.

Karl Bryullov first visited Naples and Vesuvius in July 1827, in the fourth year of his stay in Italy. He had no specific purpose for the trip, but there were several reasons for taking this trip. In 1824, the painter’s brother, Alexander Bryullov, visited Pompeii and, despite the restraint of his nature, enthusiastically spoke about his impressions. The second reason for visiting was the hot summer months and the almost always accompanying outbreaks of fever in Rome. The third reason was the recently rapidly emerging friendship with Princess Yulia Samoilova, who was also traveling to Naples.

The sight of the lost city stunned Bryullov. He stayed in it for four days, going around all the nooks and crannies more than once. “Going to Naples that summer, neither Bryullov himself nor his companion knew that this unexpected journey would lead the artist to the very high peak his creativity - the creation of the monumental historical canvas “The Last Day of Pompeii”,” writes art critic Galina Leontyeva.

In 1828, during next visit Pompeii, Bryullov made many sketches for future painting about the famous eruption of Mount Vesuvius in 79 AD. e. and the destruction of this city. The canvas was exhibited in Rome, where it received rave reviews from critics, and was sent to the Louvre in Paris. This work became the first painting by the artist to arouse such interest abroad. Walter Scott called the painting “unusual, epic.”

The classical theme, thanks to Bryullov’s artistic vision and the abundant play of chiaroscuro, resulted in a work several steps ahead of the neoclassical style. “The Last Day of Pompeii” perfectly characterizes classicism in Russian painting, mixed with idealism, increased interest in plein air and the passionate love of that time for such historical subjects. The artist's image in the left corner of the painting is a self-portrait of the author.

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The canvas also depicts Countess Yulia Pavlovna Samoilova three times - a woman with a jug on her head, standing on a raised platform on the left side of the canvas; a woman who fell to her death, stretched out on the pavement, and next to her a living child (both were presumably thrown out of a broken chariot) - in the center of the canvas; and a mother attracting her daughters to her in the left corner of the picture.

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In 1834, the painting “The Last Day of Pompeii” was sent to St. Petersburg. Alexander Ivanovich Turgenev said that this picture brought glory to Russia and Italy. E. A. Baratynsky composed for this occasion famous aphorism: “The last day of Pompeii became the first day for the Russian brush!” A. S. Pushkin also responded with a poem: “Idols fall! A people driven by fear..." (this line was prohibited by censorship). In Russia, Bryullov’s canvas was perceived not as a compromise, but as an exclusively innovative work.

Anatoly Demidov presented the painting to Nicholas I, who exhibited it at the Academy of Arts as a guide for aspiring painters. After the opening of the Russian Museum in 1895, the painting moved there, and the general public gained access to it.