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RUSSIAN ART AND ARCHITECTURE
THROUGH THE CENTURIES

 
 

K. P. Briullov

 
 

All art historians agree that the most outstanding Russian artist of the first half of the 19th century was Karl Pavlovich Briullov, 1799-1852. As we see from his name, he was of German origin. His grandfather a craftsman, came to St. Petersburg to work, and remained there. The young Briullov entered the Academy, as a boy and studied under A.I. Ivanov and under Yegorov and soon was remarked to be a very gifted graphic design artist. After graduation as a talented painter, the Society for the Encouragement of Artists sent him to Italy, where he completed his studies and also painted a few striking allegorical and historical scenes taken from the Russian past. But fascinated with Italian art and cultural achievements, and with Italy itself, the independent minded Briullov quickly forgot about the commission he had received and chose to paint the subjects he wanted. Briullov remained abroad until 1836 and when he returned to St. Petersburg he had depicted Italy and Italians in his paintings "Vintage" or "Italian Noon," "Italian Morning," "Virsavia," (the famous beauty and mother of Solomon), "Saturn and Neptune at Olympus," "The Meeting of Apollo and Diana," and a few portraits of prominent Italians, and his huge composition with impressive light effects, "The Last Days of Pompeii," 1828-1832. The last picture was painted after a visit to Pompeii, and after seeing the opera that has the same name, which produced a strong impression on Briullov. His style reveals the influence of Poussin, David and to a certain extent of Raphael. It appears that he was commissioned to paint it by A. N. Demidov, a member of the famous wealthy Russian family and a well known patron of the arts, who for his large contributions was appointed by the Duke of Tuscany "Principe San Donato," where he had a large estate. The painting was acclaimed by Italian art critics and art lovers when exhibited in Rome and Milano before being taken to Russia. Its success was even greater in St. Petersburg. Pushkin wrote a poem and Gogol an essay to praise it, an unusual flattery by the two great literary figures.
In St. Petersburg, Briullov was offered a professorship at the Academy, which he accepted. His friendship was sought after by top Russian intellectuals; his students admired him, and many followed his style. Briullov continued to paint and remained more or less faithful to his academy, but he also defended the right of the artist to "Depart from the conventional forms..." And "To come closer to nature." Here is his portrait of two peasant girls.
Perhaps he would not be rated as highly by posterity if it were not for the masterful portraits that he painted. Most of his portraits are distinguished by their elaborate and well balanced composition, technical brilliance and strong expression; they are basically monumental. His colors are beautiful, usually set on a dark background. Particularly impressive are the pale faces and delicate hands, easily remarked on his portraits. In portraiture he tried to create pictures that have value in themselves regardless of their resemblance to the person he painted. In a few portraits he was as good as the best contemporary Italians or other European masters. Such are the portraits of Countess Samoilova, Shishmarev Sisters, Strugovshchikov, Kukolniks, Krilov, his self-portraits, or the equestrian portrait of Demidov, still exhibited in one of the halls in the Pitti Palace in Florence. Here is his portrait of the Shishmarev sisters.. Poor health forced Briullov to leave St. Petersburg in 1849 and seek again a refuge in Italy, where he remained until his death. Here we show Briullov's portrait of Countess Yu. P. Samoilova (1842). To view his portrait of Mikhel Angelo Lanchi please go to Lanchi.

 
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