Karl Pavlovich Bryullov paintings with titles. Stories of the most famous paintings of Karl Bryullov
Karl Pavlovich Bryullov is a famous artist, watercolorist, portrait painter, and painter. During his short life, he created many paintings that we admire to this day. It is clear that Karl Bryullov wrote them with pleasure. The paintings of the great artist can be seen in the Tretyakov Gallery.
Portraits of contemporaries
Bryullov K.P. lived in interesting times- in the era of the heyday of art: painting, music, literature. He was born in the same year (1799) as A.S. Pushkin, met the poet when he lived in Moscow, and the artist was born in St. Petersburg.
The painter captured his famous and lesser-known contemporaries on canvases for centuries. Some of the artist’s first portrait works were dedicated to the Kikin family. The image of Pyotr Andreevich Kikin’s daughter was transferred by Bryullov to canvas in 1819. The head of the family, a patron of the arts who supported artists, was painted by the painter in 1821-1822. At the same time, he created a portrait of the adult Maria Ardalionovna Kikina, and a year earlier - in 1821 - he painted Maria as a child.
Thanks to the fact that Karl Bryullov painted pictures of this kind, we can see what his brother, S. F. Shchedrin, E. P. prince and diplomat E. P. Gagarin was like), her sons and daughter in childhood, the Olenin couple and many people are the artist’s contemporaries, including himself.
Karl Bryullov’s painting “Italian Afternoon”: history of creation, reviews from critics
In 1827 great painter finished the painting " Italian noon" This was the second work dedicated to the beauties of this country. The first was created in 1823 and was called “Italian Morning”.
The background to the creation of the second masterpiece is as follows. The Society for the Encouragement of Artists gave the first painting from this series to the wife of Nicholas 1. The Emperor wanted the painter to create a pair of works for the first painting. Then, in 1827, Karl Bryullov did just that. The paintings were met with mixed reactions by the public. If they spoke rather flatteringly about the first one, then a lot of unpleasant things were said about the painting “Italian Afternoon”.
They criticized the model, which, according to art critics of the time, was not elegant. To which the author replied that such purity of form is necessary for statues that are supposed to be slender. In his work, he painted a real, natural girl, who is often liked even more than the statues, with her strict beauty.
Description of the canvas
And it's true. A charming, plump, healthy girl attracts the eye. It can be seen that she is very dexterous; she easily climbed the ladder to pick the grapes. The Italian woman holds a bunch of berries with one hand, and leans on the stairs with the other. On the elbow of her left hand she has a basket where she places ripe emerald clusters. The girl’s gaze is lively, it is full of joy and admiration, not only because the berries are so beautiful. The girl is filled with feelings of love for nature and people, she enjoys the beautiful weather, looks through the transparent berries at the gentle sun.
Big eyes, neat nose, radiant smile make a girl's face irresistible. With such an appearance, she could become the wife of a noble man and live in complete prosperity. But it’s clear that she’s fine and happy with everything. Karl Bryullov was able to convey this with the help of colors, reflections of the sun, and plot, whose paintings put the viewer in a complacent mood or make them think and worry tragic events past days, the main thing is that they do not leave you indifferent.
"The Last Day of Pompeii"
This is another famous masterpiece that the artist created in 1833, and worked on it since 1830. But Karl Pavlovich Bryullov began sketching the painting “The Last Day of Pompeii” back in 1827, when he visited Pompeii.
Through paint, he reflected the eruption of Vesuvius, which occurred in 79, which caused the death of many people and the destruction of the city. This painting is significant in that it was the first to be highly praised by foreign art critics.
"Giovanin on a Horse"
Karl Bryullov’s painting “Horsewoman” was painted by him in 1832. The artist created this painting at the request of Yu. P. Samoilova. At first there were assumptions that he depicted her, the countess, but art historians proved that her pupil Jovanin was in the image of a rider, which is why Karl Pavlovich himself called the canvas “Jovanin on a Horse.” According to the main version, the girl was the niece of Samoilova’s second husband.
You can see how Jovanin stays well in the saddle in his beautiful clothes and is controlled by a black trotter who does not want to stand still.
The girl looks at the girl admiringly, who also can’t wait to grow up quickly so that she can learn how to ride a horse just as dashingly. The artist painted a girl from Samoilova’s adopted daughter, whose name was Amazilia.
These are the paintings Karl Pavlovich Bryullov created. Of course, this is only a small fraction of the paintings, which number many dozens of works. But based on those presented, one can judge what a master of his craft, an inspired person and a creator the great artist was.
Surely paintings Karl Pavlovich Bryullov known to everyone from school. “The Last Day of Pompeii”, “Italian Afternoon” and other paintings are imbued with real emotions, feelings, and expression. Unlike many other artists, Bryullov chose his models not among fragile, pampered models. His heroines were girls from real life with all their advantages and disadvantages. Not all contemporaries immediately agreed with the author’s innovation, but over time, Bryullov received worldwide recognition, and he himself began to be called “Charlemagne.”
Karl Bryullov was born in 1799. As a child, he was a very sick boy and did not get out of bed for several years. But this fact did not stop his father, Pavel Brullo, who decided to teach his son painting. Every day the child was given tasks: to draw animals, people or natural motifs. And while Karl did not cope with the task, he did not receive breakfast.
At the age of 10, Karl Brullo was enrolled in the St. Petersburg Academy of Arts, where he studied for 12 years. The boy brilliantly coped with any task assigned to him, and for this in 1822 he received a pensioner scholarship for four years, which included studying in Italy. Before leaving, Karl received permission from the emperor to add the letter “v” to his surname so that everyone would understand where the artist came from.
Italy captivated the young artist. In 1827, the artist painted the painting “Italian Afternoon”, for which the model was a pretty, plump Italian woman. In Russia, this picture was received very coldly, because it did not correspond to the fashion trends of that time. Critics called the model “disproportionate,” and Bryullov left the Imperial Society for the Encouragement of the Arts with a scandal.
In 1827, in Italy, Karl Bryullov met Countess Yulia Pavlovna Samoilova. The artist was captivated by the incredible Mediterranean beauty, intelligence and grace of this woman. The Countess often became a model for Bryullov's paintings. In the painting “Portrait of Countess Yu. P. Samoilova leaving the ball with her pupil Amalia Pacini,” the incredible colors and splendor of the outfits only emphasized the beauty of his muse.
In 1830, Karl Bryullov, together with Countess Samoilova, went to the ruins of Pompeii and Herculaneum. Two years before this, another eruption of Vesuvius occurred, so it was fashionable to be interested in architecture then.
Bryullov began work on the painting that made him world famous at the request of philanthropist Anatoly Demidov. Before starting to paint the canvas, the artist studied many historical documents about Pompeii and made many sketches from the scene of the event.
Karl Bryullov painted the people in the painting as emotionally as possible. He captured himself there as an artist running with drawing supplies. Yulia Samoilova can also be found on the canvas. She is presented there in three images: a woman with a jug on her head, a mother trying to protect her daughters and dying on the pavement.
In Rome, “The Last Day of Pompeii” received the most flattering criticism, after which the painting was sent to the Louvre in Paris. In 1834 the painting reached St. Petersburg, where it created a real stir. Emperor Nicholas I himself wished to see the painting, after which he awarded Karl Bryullov the award.
No less iconic painting by the painter was “Bathsheba”. Before Bryullov, Russian artists practically did not turn to the nude. Bryullov, inspired by the success of “ Last day Pompeii”, decided to paint a picture in a new genre. He took as a basis biblical story about Bathsheba, whom King David saw bathing.
The master worked on the painting for several years. Critics called it "voluptuous and brilliant in color." The artist realized that he could not convey his plans to the audience, and even once threw his boot at the painting. Bryullov did not finish the painting; the beauty’s brushes remained unpainted. It was in this form that the patron purchased “Bathsheba” and sent it to the Tretyakov Gallery.
The painting raises many questions among art critics. Researchers are still arguing about who is really depicted on it.
Bryullov was born in St. Petersburg in 1799 and left the world near the city of Lazio and Rome in the commune of Manziana in 1852. He was the third son in the family of a teacher at the Academy of Arts. Karl practically did not know his mother, who left this world early, he was a sickly boy who did not get out of bed until almost 8 years old, by the way, Bryullov completed his earthly path very painful.
Strict paternal upbringing allowed Bryullov to enter the Academy of Arts at the age of 10 and become a recognized master there. He was adored by both his classmates and professors; he created recognizable works of art that were distinguished by his talent.
In 1822, he graduated from the Academy with a huge number of medals and, thanks to a grant, went to Italy, where he stayed until 1834. This period is marked most interesting works, many of which have become art classics. Bryullov is filled with the mood of romanticism; he writes much outside the canon of the Academy of Arts, but at the same time creates something incredibly valuable and original.
In 1833, he created The Last Day of Pompeii, a painting that created a real sensation in the art world. In 1836 he returned to St. Petersburg, where he lived until 1849.
St. Petersburg became a space for the continuation of the artist’s fame, which only strengthened. Bryullov's talent became more diverse and interesting, he became famous as a portrait painter, and communicated a lot with the creative elite of the city. At the same time, Karl Pavlovich himself once said: “I cannot write a second Pompeii” and the prediction in many ways really came true.
Charlemagne, as his friends and admirers called him, really wanted to create historical paintings, as befits graduates of the Academy of Arts, but he painted portraits and other “salon” works. He created mostly paintings on the theme of happiness and joy, because he himself was very sick, according to the sad diagnosis of the doctors.
Since 1850, he completely moved to Italy, where he painted his own self-portrait, which became the most famous. He lives in the house of A. Tittoni, where he paints interesting watercolors that remain in the collection of this family. Bryullov's final work was Michelangelo Lanci's portrait of his friend, an archaeologist.
Detailed biography and creativity
A short article will tell you about creative path the great painter Karl Bryullov.
Years of youth
Bryullov Karl Pavlovich was born in St. Petersburg on February 12, 1799. His father was German in the city and he was known as a skilled sculptor. He was especially good at creating small miniatures made of wood. Boy with early childhood began to get interested in drawing. For Carlusha, as his close relatives and family friends called him, the pencil is an extension of his hands. At the age of 10 he was accepted into the St. Petersburg Academy of Arts, where he lived for about 12 years.
The beginning of creativity
No one doubted that the young man would graduate from the Academy with excellent marks. In 1819, he left its territory and began to develop his own individual style painting. Bryullov’s elder brother at that time was engaged in the construction St. Isaac's Cathedral and took him under his “roof”.
At first, Karl preferred to paint portraits. The first persons of St. Petersburg - P. Kikin and A. Dmitriev-Mamonov - often turned to him. At the request of the men, Charles painted such famous paintings as “The Repentance of Polyneices” and “Oedipus and Antigone.” Thanks to the popularity of these paintings, Bryullov received a high award for those times - a trip to Italy for 4 years. There he lived not for the period allotted to him, but much longer - 12 years, from 1822 to 1834.
Life and work in Italy
Bryullov often visited museums in Italy, where he carefully studied creativity and paintings of the most famous artists past time. He was especially drawn to Raphael's painting "The School of Athens." Karl decides to create it exact copy and spends about 4 years on this. As a result, the painting created a real sensation not only among his fellow artists, but also among those who were initially skeptical of him. While he was in Italy, Bryullov wrote the following outstanding paintings like Italian Afternoon (1827) and Bathsheba (1832).
Karl Bryullov became a famous painter. Another painting that gave him even greater popularity and recognition is the secular portrait “horsewoman”. In the end, the artist returned to his homeland again, but already famous and recognized during his lifetime as a great classic.
Last period of life
The year 1843 was also significant in his life. Bryullov created a painting for St. Isaac's Cathedral. But he did not give up painting portraits and was actively engaged in his favorite work. He also painted several portraits for the Tittoni family.
From a young age, Karl Bryullov was often ill and was weak child. In 1847, he suffered from a cold, which caused complications in his heart. Rheumatism forced the artist to spend almost seven long years in bed.
Doctors strongly recommended that Bryullov change the climate of Russia to a warmer tropical one. He settled on the island of Madeira. But even a change in the surrounding atmosphere did not improve his condition. He left the island and moved to Manziana in May 1852. There he spent the rest of his days and died a month later in June of the same year (1852).
Gabudalla Tukay is a Soviet, Tatar people's writer. He is considered the founder of modern Tatar language. He made a huge contribution to the development of Tatar literature. For my short life he was able to change many writers, including Russians.
Steve Jobs was born in 1955 in San Francisco. His father was John Jandali, who in turn was of Syrian descent. His mother was from Germany, her name was Joan Schieble.
Biography, paintings of the artist, life, creativity and great love. It is impossible to tell everything in a few words and pictures. Moreover, both the creativity and the life of an artist, like any person, cannot be described in a few words.
Karl Bryullov. Biography
Karl Pavlovich Bryullov was born in 1799, on December 23 in the capital of the Russian Empire - St. Petersburg. His father was a fairly well-known decorative artist and woodcarver in the capital.
At the age of 10, Karl was accepted into the Academy class historical painting. His teachers were famous master painters: Ivanov A.I., Shebuev V.K., Egorov A.E. From the very first days of his studies, the young artist showed his talent and his teachers expected extraordinary and talented works from him.
While still a student at the Academy, Bryullov created a number of complex compositions that attracted the attention of the public and specialists.
For example, in his “Narcissus” one can see the young author’s desire to combine the classicism that was dominant at that time and the living natural “ordinariness” of nature. Romanticism is just coming into fashion and the reflection of the human world and his feelings is completely new to the public.
Narcissus admiring his reflection
The artist's brother, the architect Alexander, went to Italy in 1822. The “Society for the Encouragement of Artists” thus rewards the young architect. And Karl decides to go to Italy with his brother. He had no idea that he would return to Russia only after 14 years.
Italy simply amazes the young artist and gives huge amount themes for painting. In 1823 - the famous “Italian Morning” that amazed St. Petersburg.
Italian morning
In 1824 - “Erminia with the Shepherds”, 1827 - “Italian Afternoon”. Bryullov studies genre motifs, searches for the necessary nature and, most importantly, tries to find a completely new “language” for his painting.
His paintings glorify the beauty of man and the beauty of the surrounding world. The artist wants to show the joy of life. He transfers this new vision to his portrait painting. I will not list all the artist’s works in this genre (I will talk about some of them in more detail below), but remember “The Horsewoman”... This is a portrait, but a portrait, for its time, completely unusual. There is lightness and fire in it, hidden joy and triumph of living human flesh, and the bridled rage of a horse, and the tenderness of beautiful ladies.
There are no shadows or sorrow in the artist’s works of that period.
In 1835 he visited Greece and Turkey. As a result of this trip, a whole series of watercolors saw the light: “Temple of Apollo Epicurean”, “Delphic Valley” and others. Incredible colors and subjects delight art lovers.
The artist studies the work of old Italian masters, architecture and history. And the result is “The Last Day of Pompeii.” Experts call this work the most significant in the artist’s work. Karl Bryullov began work on the painting back in 1830 and painted it for three years).
In 1836, the artist returned to his homeland and received a professorship at the Academy of Arts. The St. Petersburg period of the artist’s work is mostly portraits. Noble men and beautiful ladies. The artist strives to show not only natural beauty person, but also his inner world, experiences and joys, passions and inner nobility, which is in everyone (as the artist believed).
In 1839, the artist began working on the painting “The Siege of Pskov by the Polish King Stefan Batory in 1581.” This work exhausts the artist. The theme doesn’t come at all; St. Petersburg is gloomy and damp. During the same period, the artist began to paint the dome of St. Isaac's Cathedral. The artist became seriously ill. He was unable to complete the painting and painting of the cathedral. The illness turned out to be very serious indeed and put the artist to bed for seven long months.
In 1849, Bryullov went abroad for treatment.
In Italy he feels much better and begins to work again: drawings, a series of watercolors and portraits.
Shortly before his death he said:
“I didn’t do half of what I could and should have done.”
And now - Karl Bryullov and his paintings
Bakhchisarai fountain (1838-1849)
Bakhchisarai fountain
Karl Bryullov knew Pushkin. They met often. After the death of the poet, Bryullov expressed a desire to participate in the publication of the collected works of the great poet, and drew sketches of the frontispiece.
During the same period, Bryullov began work on the painting “Bakhchisarai Fountain”. The artist completed a huge number of sketches in order to find the future composition of the painting, studied the positions of the characters’ bodies, clothes oriental women. Bryullov wanted to show not the drama of Zarema and Maria’s feelings, but the romantic side of the life of an eastern harem. Sleepy laziness, languid monotony and the serenity of the lives of beauties. As in Pushkin's lines:
...Blithely waiting for the Khan
Around a playful fountain
On silk carpets
They sat in a crowd of frolics
And with childish joy they looked,
Like a fish in the clear depths
I walked on the marble bottom...
Italian Afternoon (1827)
Italian noon
This painting was painted by Karl Bryullov at the request of the St. Petersburg Society for the Encouragement of Artists. This happened after the huge success of Italian Morning.
And Karl wrote.
The heroine of the picture does not have antique proportions and does not at all resemble an ancient statue. Bryullov shows the beauty of a real Italian woman.
And this simple Italian woman outraged the Society. The Chairman of the Society reminded the artist that the purpose of art is the graceful depiction of nature. And the lady in Bryullov’s canvas has “more pleasant than graceful proportions.”
However, Bryullov insisted on his right to show real, and not conventional, beauty.
In order to get a real play of light and shadows, the artist painted a picture in a real vineyard.
Agree that the picture is simply and incredibly beautiful.
Portrait of Yu.P. Samoilova leaving the ball with adopted daughter Amazilia Paccini (1839)
Portrait of Yu.P. Samoilova leaving the ball with her adopted daughter Amazilia Paccini
Countess Yulia Pavlovna Samoilova is a special woman in Bryullov’s life. I want to make a separate post about the story of their love and friendship. Star woman socialite and “your slave.” Beauty with bad character, willful, loving and submissive. Truly an incredible woman.
In 1939, Samoilova came to St. Petersburg due to the fact that it was necessary to dispose of the huge inheritance left from her grandfather Count Litt. It was during this period that Bryullov began this portrait. The artist said that he wanted to show the masquerade of life. There, behind Samoilova, behind the red curtain, it thunders royal ball and flows like a fountain social life. And in front of us is just a woman, in a royal outfit, but without a mask. She took off the mask that is needed for a world of lies, where everyone strives to isolate themselves from people and pretend to be someone they really are not.
And the main theme of the picture is the triumph and beauty of a strong and independent personality.
Horsewoman (1832)
Rider
This famous painting depicts the pupils of Countess Samoilova. On the left is the younger Amacia, and on the horse is the older Jovanina.
The artist loved Samoilova, and the girls were a part of the world that surrounded the countess. And Bryullov, loving the countess, could not help but love girls.
According to the artist’s plan, “The Horsewoman” is a large portrait to decorate the main hall in Samoilova’s palace. The Countess ordered the portrait. She said more than once that she wanted to cover all the walls with “his miracles.”
The artist shows his ideal world. And in this world life is beautiful. Here is the charm of childhood and the pride of youth. We see all this on the faces of the little heroines. The artist put so many feelings and emotions into this work that an everyday everyday scene appeared before the audience transformed, full of poetry and an extravaganza of colors.
Turkish woman (1837-1839)
Turk
Returning to gloomy and rainy St. Petersburg, the artist often turns to memories of his travels around the Mediterranean.
Memories and fantasies. The artist’s album contains a lot of sketches depicting women in outlandish oriental outfits. We can say that he was worried about the theme of the “Turkish woman” - an exotic and mysterious woman.
The ladies of society in the paintings of Karl Bryullov are dressed in “semi-oriental” outfits. There are quite a lot watercolor works, in the artist’s albums, which show the features of the artist’s contemporaries.
And the artist painted this Turkish woman from a model. The fact is that in addition to “Turkish Woman” there is also “Odalisque”. AND main character both paintings are of the same lady.
Bryullov very carefully painted the face of his Turkish woman, which is decorated with a bright, huge Turkish turban.
Experts say that “Turkish Woman” is a particularly feminine and close to nature work by the artist. I have no desire to disassemble the picture into atoms. Karl Bryullov is a master. And his “Turkish Woman” is simply lovely. Without any ifs and highly artistic assessments.
Karl Bryullov Happy and Unhappy Love
A woman-muse, a woman-love, a woman-friend, and a woman who finally broke the artist’s heart. She smashed him so hard that he died. And this is all about her - about Countess Yulia Pavlovna Samoilova.
Before I talk about how we met, how we fell in love and how we parted, I will tell you how this extraordinary woman lived before she met Karl Bryullov.
Yulia Samoilova
Contemporaries noted that Countess Samoilova was a brilliant and daring lady, well versed in literature and music, educated and freedom-loving. She lived not with her mind, but with her passionate heart. And my heart was very restless.
Envious tongues hinted that all her independence and audacity came from the countless riches that her ancestors, both on her mother’s side and on her father’s side, left her. Indeed, the nee Countess von der Palen was fabulously rich. The heiress of Russian and Italian aristocrats: the Skavronskys (Catherine the First - the wife of Great Peter), Palena, Litta and Visconti (these are the same ones who were relatives of Francesco Sforza, the patron of Leonardo la Vinci).
And they also said that Count Litta, chief chamberlain and chief master of ceremonies of the imperial court, left his untold fortune to Julius because she was not his granddaughter, but his daughter. When the girl was five years old, her mother went to Paris to study art, and left the girl in the care of the count.
The little countess grew up impudent and headstrong, and was distinguished by phenomenal rebellion. But, if she loved someone, then with this person she turned into a little angel. Governesses and nannies simply adored the small and graceful, similar beautiful kitten, girl.
Yulenka loved to wander through the endless halls of the count's palace. With her fragile fingers she touched priceless works of art. And very early I began to understand what real art was. And if I didn’t understand something, I went to the huge library. And great minds, from the pages of books, talked to her about life and art.
This is how the future Countess Samoilova was formed, an independent, educated woman, with her own outlook on life and her own personal opinion.
Rider
She never followed fashion. For what? She herself was a fashionista and a role model. A beauty with a proud posture, smart and relaxed. How did she conquer men's hearts?! And how carried away I was!
When she turned 25 (this happened in 1825), she suddenly got married. Her chosen one is not an ordinary person at all. He is rich, famous, handsome and young, witty and cheerful, a friend of Pushkin and a regular at social events - the Emperor's adjutant, Colonel Samoilov Nikolai Alexandrovich.
But the happiness of the young people did not last long. Nikolai was known as an avid duelist and gambler, loved wine and noisy companies. And he never loved his wife Julia. This marriage was arranged by Nikolai's mother, who simply dreamed of marrying her son to such a bride as the young Countess Palen. Colonel Samoilov loved a completely different woman. He loved passionately and tenderly.
The divorce was quick and quiet. In 1827, the “handsome Apkviviad” (that was Samoilov’s name in society) took the countess to her father and returned the dowry (or rather, what was left of it) to his ex-wife. They stopped being spouses, but remained friends. Society did not understand such relationships: the world lived on rumors and generated rumors. They were reconciled and quarreled, married again and divorced. And they were just friends. In the end, Count Samoilov left for the active army. Colleagues, then, spoke of his cold courage and contempt for death.
And Countess Samoilova? She is free and her audacity simply has no boundaries. The light of St. Petersburg strives not to Tsarskoe Selo, but to Grafskaya Slavyanka - the summer estate of the young Countess Samoilova. The Emperor is furious. He cannot get guests to visit him - they prefer to visit the countess. And the Emperor asks to sell him a popular estate. He asks in such a way that even the wayward Samoilova does not dare refuse.
But, finally, she turns to the imperial dignitary:
Tell the emperor that you didn’t go to Grafskaya Slavyanka, but to Countess Samoilova, and they will continue to go to her, no matter where she is!
The impudent countess not only said, but also did... Very little time passed and the light of St. Petersburg began to gather not in Grafskaya Slavyanka, but in the beautiful palace on Elagin Island. Needless to say, the owner of the palace was the magnificent Samoilova.
She was a star of secular society not only in Russia, but also in Italy. Aristocrats and diplomats, poets and composers, artists and writers gathered in her Italian palace. Rossini, Verdi, Bellini and Pacini. They are regulars at the original Countess Samoilova's.
Wine and money flow like a river, passions rage and little love tragedies happen. The novels have no end and count. But she only brings suffering to men and suffers herself. She lives brightly and passionately, but there is no happiness in her life.
Bryullov and Samoilova. First meeting
The year was 1828. Naples looked with fear at the awakened Vesuvius... The year was difficult for Karl Bryullov. Adelaide Desmoulins fell passionately in love with him. She loved, but he was cold. She was jealous and, out of stupid jealousy, threw herself into the Tiber. The world accused Bryullov of cruel indifference. He made excuses, but no one believed him.
Bryullov was invited to dinner with Prince Gagarin. And when the dinner was coming to an end, the doors of the hall suddenly opened and she appeared on the threshold... A proud, stately beauty, a dream and the very embodiment of beauty. The audience gasped, and the prince warned Bryullov:
Fear her, Karl! This woman is not like the others. She changes not only her loyalties, but also the palaces in which she lives. Having no children of her own, she declares strangers to be her own. But I agree, and you will agree, that she can drive you crazy...
They exchanged just a few words. And then Prince Gagarin, trying to protect Bryullov from gossip and remorse, took the artist to his estate with the beautiful name Grotta-Ferrata. Karl painted and read a lot. Life flowed quietly and serenely. But, one evening, this rural silence simply exploded - Yulia Pavlovna appeared on the threshold of the house.
Let's go! - she declared decisively. - Maybe the roar of Vesuvius, ready to bury this unbearable world, will save you from melancholy and remorse... Let's go to Naples!
Then, many years later, she recalled that “this” happened at the very first moment of their meeting. Nothing had happened yet, but she already knew that she was “bewitched” to him forever.
He is a poor artist, and she is a socialite who knows no account of her treasures, the owner of beautiful palaces in Italy and Russia, a patron of the arts, an aristocrat of the highest standard.
She's smart and bossy, but she loves him.
- So be it, I agree to be humiliated by you.
- You? - Bryullov was surprised.
- Certainly! If I consider myself an equal to the emperor, then why don’t you, my dear Brishka (that’s what she called him), make me your slave, forever conquered by your talent? After all, talent is also a title that elevates the artist not only above the aristocracy, but even above the power of crowned despots...
He painted portraits from her. And he always said that these portraits are not finished. Yulia Pavlovna did not like to pose - she was always in a hurry. Well, she couldn't sit still for long. Impetuous, passionate, cheerful, full of life. She loved him and loved his work. But she didn’t like to pose.
Portraits of Samoilova, painted by Bryullov, delighted the public. Karl began to be compared with great artists: Van Dyck and Rubens. And then the inevitable happened - “The Last Day of Pompeii” struck. The painting amazed the admiring audience and glorified the artist. Immediately and forever!
Last day of Pompeii
Orders rained down on him like from a cornucopia, the aristocrats considered it an honor to have the “great Bryullov” as a guest, and any of his work became priceless. He was simply pestered with orders and declarations of love.
Princess Dolgorukaya wrote that Karl Bryullov simply infuriates her... She begs him for a date, tries to sneak into his workshop, knocks on his door, tries to catch him at Prince Gagarin's. And he... slips away. Cruel and reckless.
The Marquise Visconti, a lady not only noble, but also very influential, is offended by him. She calls the guests, and she is waiting for Bryullov. He comes. But he remains in the hallway of her palace - he is struck by the beauty of the doorman's daughter. Karl admired the beauty of the girl and... left. The Marquise is furious.
His desired woman is Samoilova. He is ready to draw it always and everywhere. IN famous painting“The Last Day of Pompeii” his favorite is depicted three times.
After the Countess took Charles to Naples, they for a long time didn't break up. They were captured by a great and passionate feeling.
She wrote to him:
My friend, Brishka! I love you more than I can explain, I hug you and will be spiritually committed to you until the grave.
She passionately wanted to unite her fate with the fate of Karl Bryullov. And he loved her. What stopped them? She was his only one true love. Love for life. But, strange love.
The world constantly gossiped about the novels of the flighty Samoilova. But Karl was not faithful to her either. They were together, but somehow everything worked out so that their love allowed love pranks on the side. It was as if they were testing their feelings to the limit.
They confided their secrets to each other (including the secrets of love affairs), avoided “vulgar jealousy,” and protected personal freedom. Perhaps many years later, each of them realized that love is more than personal unlimited freedom. And love and frivolity do not coexist under the same roof.
Portrait of Countess Yu. P. Samoilova with her pupil Giovanina Pacini and a little black boy
She is the “Italian sun” (as the artist called Julia) - bright, blinding, flooding everything around with light and passion, energetic and restless. And he is calm and even melancholic. Her passions and feelings boil and incinerate everything and everyone around her. It's all inside him. And his soul burns. He was extremely tired.
One day, while in the house of the artist Sauerweid, he met, quite by accident, the daughter of the Riga burgomaster Emilia Tim. She is so young and tender, like the first one spring flower, modest and quiet. And how different she is from the ever-changeable, restless and passionate Julia. Maybe she will be the one who can heal his soul from this fatal passion for Julia?
Emilia played the piano for him and sang. And he dreamed of a quiet and peaceful family life. The young creature blushed furiously at indiscreet jokes and embodied innocence itself.
Emilia Tim
He painted her portrait, and he almost believed in happiness. The wedding took place in 1839. Subsequently, Taras Shevchenko (he was at that wedding) recalled that Bryullov was gloomy and unhappy, stood with his head bowed low and did not look at his bride. It seemed that Karl was repenting and suffering greatly.
And a month and a half later, ominous rumors spread throughout St. Petersburg. They said that the enraged Karl tore the earrings, along with the lobes, out of his young wife’s ears, and kicked his barefoot wife out into the street. He also had a fight with the bride’s father and hit him on the head with a bottle.
Bryullov refused to comment obvious fact(Emilia really left). But Bryullov himself left his home. He hid from terrible shame in the house of the sculptor Klodt.
The ex-wife and her father demanded money from the artist, rumors multiplied so much that the Emperor demanded an explanation from Bryullov. Karl was invited to Count Beckendorf to explain the reasons for the divorce. And then it turned out that his innocent and gentle Emilia was the mistress... of her father. Moreover, this relationship continued after her marriage. And she also demanded lifelong maintenance from the artist.
A great artist - he was disgraced and destroyed.
To Bryullov’s great happiness, Count Litta died in St. Petersburg at this time, and in northern capital Yulia Pavlovna appeared. Having learned about the misfortune that befell Bryullov, she hurried to her Karl’s house. She didn't come. She burst in like a crazy comet: she drove away the cook, slapped the drunken footman in the face, and escorted all the guests who were expecting free drinks and new rumors from the reception room.
She, once again, turned his house and his life upside down.
Bryullov writes again. And paints her portraits. It was during that period that this picture appeared.
Portrait of Countess Yulia Pavlovna Samoilova leaving the ball with her adopted daughter Amazilia Paccini (Masquerade)
There is more and more coldness and loneliness in his works. He is great, he is famous and he is unhappy. He only loves her. But she lacks passion and fire. Julia blames this cold Russia and they leave for Italy. In Italy, Karl works a lot and... yearns for St. Petersburg. It seems to him that Julia no longer loves him.
This happened in 1845. Julia suddenly decided to get married and end her relationship with Bryullov. While at the opera, she invited tenor Perry to her carriage and announced to him that she had decided to become his wife. Stupid Perry was flattered by the Countess's countless riches and agreed. He dreamed of outliving Samoilova and taking possession of her fortune. But, young and full of strength, Perry could not stand her passion and the frantic pace of life. Very soon Samoilova became a widow.
Then she left for Italy. He tried to find traces of her, but in vain. There is information that they met on the eve of his death. But their conversation did not work out. What could he tell her if he was leaving this world, and she was destined to stay.
Soon Karl Bryullov died.
And she went to Paris. And she continued to squander her wealth and health. She married a French count. And she divorced him the day after the wedding.
Her wealth has dried up. There was no health either. Deep loneliness came.
For a long time she kept portraits of her “beloved Brishka.” This is all that she has left of that great and strange love.
She outlived Karl Bryullov by 23 years.
Karl Pavlovich Bryullov. Born December 12 (23), 1799 in St. Petersburg - June 11 (23), 1852 in Manziana, Italy. Russian artist, painter, monumentalist, watercolorist, representative of academicism.
Son of academician of ornamental sculpture P. I. Bryullov. In 1809-1822 he studied at the Academy of Arts with A. I. Ivanov, A. E. Egorov, V. K. Shebuev. From 1822 to 1834, as a pensioner of the Society for the Encouragement of Artists, he lived and worked in Italy, where he painted the painting “The Last Day of Pompeii” (1830-1833), which was awarded the Grand Prix in Paris. At the same time, he created a number of portraits, including the painting “Horsewoman” (1832), which brought him great fame.
In 1835 he traveled through Greece and Turkey, during which he performed a number of graphic works. In the same year he returned to Russia, lived in Moscow until 1836, where he met, then moved to St. Petersburg. In 1836-1849 he taught at the Academy of Arts. He painted a number of portraits of Russian cultural figures, including N.V. Kukolnik (1836), I.P. Vitali (1837), I.A. Krylov (1839).
He was friends with M.I. Glinka and N.V. Kukolnik. In 1843-1847 he took part in paintings for the Kazan and St. Isaac's Cathedrals in St. Petersburg (completed by P. V. Basin). Due to illness, in 1849 he left for the island of Madeira. During his life there he completed large number watercolor portraits of his friends and acquaintances (“Riders. Portrait of E. I. Mussard and E. Mussard”, 1849). From 1850 he lived in Italy. He was a member of the Milan and Parma Academies, as well as the Academy of St. Luke in Rome.
The work of K. P. Bryullov became the pinnacle of late Russian romanticism, when the feeling of harmonious integrity and beauty of the world was replaced by a feeling of tragedy and conflict in life, interest in strong passions, extraordinary themes and situations. Coming to the fore again historical picture, but now its main theme is not the struggle of heroes, as in classicism, but the fate of huge masses of people.
In his central work“The Last Day of Pompeii” (1830-1833) Bryullov combined dramatic action, romantic lighting effects and sculptural, classically perfect plastic figures. The painting brought the artist enormous fame both in Russia and in Europe. An outstanding master of both ceremonial and chamber portraits, Bryullov made an evolution in his work that was indicative of the era of romanticism - from a joyful acceptance of life early works(“Horsewoman”, 1832) to the complex psychologism of the later ones (“Self-portrait”, 1848), anticipating the achievements of masters of the second half of the century, for example, (“Portrait of M. P. Mussorgsky”, 1881). Bryullov had a huge influence on Russian artists, among whom he had many followers and imitators.
On the monument by sculptor M. O. Mikeshin “Millennium of Russia,” erected in Novgorod in 1862, K. P. Bryullov is depicted among 16 figures of writers and artists of the Russian state from ancient times to the mid-19th century.
Brother Alexander Bryullov, architect, representative of the romanticism style.
Karl Bryullov was born on December 23, 1799 in St. Petersburg in the family of an academician, a teacher in the ornamental sculpture class of the St. Petersburg Academy of Arts, a woodcarver, a master of miniature painting and an engraver. French origin Pavel Ivanovich Brulleau (Brulleau, 1760-1833) and his wife Maria Ivanovna Schroeder, who had German roots (see about the Brullov family). Besides him, the family had three more sons and two daughters.
From early childhood, despite his illness, Karl, at the behest of his father, who wanted to teach the boy painting, mastered the skills necessary for his future profession: he painted people and animals from different angles, and from 1805, when Pavel Ivanovich retired, he often helped him in work on the design of the Kronstadt Church and on various other orders.
In October 1809, the boy was enrolled in government support at the Imperial Academy of Arts in St. Petersburg, where he studied until 1821. Among his teachers was A.I. Ivanov. Karl quickly established himself as a brilliant, multi-talented student, easily coping with all his school assignments, thanks to which he gained everyone’s love. In high school, the young man often helped his classmates, correcting their exam papers for a small fee. Later, Karl received a gold medal in the class of historical painting.
First meaningful work Bryullov became the canvas “The Genius of Art” (1817-1820, State Russian Museum, St. Petersburg), created in accordance with academic requirements and recognized by the Academic Council as a model for copying. In 1819, the young artist created another famous painting, “Narcissus Looking into the Water,” which A. I. Ivanov bought for his collection. Now it is kept in the State Russian Museum in St. Petersburg.
In 1821, Bryullov graduated from the Academy and as final work painted the painting “The Appearance of Three Angels to Abraham at the Oak of Mamre,” for which he received a large gold medal and the right to a retirement trip abroad. But the President of the Academy, A. N. Olenin, insisted that the young artist remain at the Academy for another three years to improve his skills, appointing as his mentor the artist A. I. Ermolaev, who was poorly gifted and did not enjoy authority among the students. Bryullov's request to replace the teacher was rejected. Then Karl abandoned his retirement trip. At this very time, the Society for the Encouragement of Artists (OSH), recently created by well-known patrons of the arts, drew attention to the painter and, to make sure of his talent, invited him to complete several works on programmatic themes, promising in return to pay for a trip abroad. The result of this proposal were two paintings by Bryullov “Oedipus and Antigone” (1821, Tyumen local history museum) and "Polinek's Repentance" (1821, location unknown), after which he was invited to go abroad to improve his skills. In return, he was required to compile detailed reports on his impressions and results of studying works of art, as well as provide new works. Karl agreed and, together with his brother Alexander, left for Italy on August 16, 1822. In May 1823 they arrived in Rome, visiting Riga, Konigsberg, Berlin, Dresden, Munich, Venice, Padua, Verona, Mantua and Bologna along the way. Literally immediately after arriving in Rome, the artist received from the OPH the task of making a copy of Raphael’s fresco “The School of Athens,” which became the painter’s last student work.
Upon arrival in Italy, Bryullov became interested in genre painting and, along with paintings on historical and religious subjects began to write works on this topic, drawing inspiration from the reality around him. The first successful work in this genre was the painting “Italian Morning” (1823, Kunsthalle, Kiel). Seeing it in St. Petersburg, contemporaries were amazed by the original interpretation of the plot and the freshness of the writing, and Emperor Nicholas I, after the OPH presented him with this painting, granted Bryullov a diamond ring and instructed him to paint a picture paired with it. It was the work “Italian Afternoon (Italian Woman Picking Grapes)” (1827, State Russian Museum, St. Petersburg), but neither the emperor nor the OPH liked it because of the generally inappropriate subject from the point of view high art. In response to criticism, Bryullov broke off relations with the OPH in 1829.
In addition to large canvases of genre painting, in 1827 the artist became interested in creating watercolors - small works that became a good opportunity for the master to convey life observations. Because of their subject matter, these works were called “ Italian genre", since they were most often ordered by aristocrats as a souvenir from Italy and were intended to serve as entertainment and decorative purposes. However, in addition to commissioned watercolors, Bryullov painted quite independent work in this genre. All of them were distinguished by airiness, sunshine, lightness, plot development, idyllicity, in some cases - the author’s irony over his characters (“The Dream of a Nun”, 1831, State Russian Museum, St. Petersburg).
As a rule, the artist painted watercolors using large, laconic spots of color, achieving expressiveness through their contrasting combinations. His first works had few figures and mainly conveyed the personal experiences of the characters (“Interrupted Date”, 1827, State Tretyakov Gallery, Moscow); subsequently they began to include everything more people (“Walking in Albano”, 1830-1833, State Tretyakov Gallery, Moscow), landscape began to play an important role in them. Some watercolors were purely landscape (“Itom Valley before the Storm”, 1835, State Museum fine arts them. A. S. Pushkin, Moscow). The common drawback of these works was, perhaps, only the lack of psychological interpretations in the images, but the laws of the genre often did not imply the presence of such in watercolors. Most of them glorified Italy with its beautiful nature and imagined the Italians as a people who had genetically preserved the ancient beauty of their ancestors, endowed with innate plasticity and grace of movements and poses and living according to the laws of beauty and aesthetics.
But they brought real fame and popularity in Italy to a young artist his portraits of representatives of the Italian nobility and his compatriots. Not the least role in Bryullov’s decision to sever relations with OPH was played by the presence at that time of many orders, which allowed him to do without financial support from outside. Bryullov’s portraits of the Italian period were distinguished by a combination of elements of classicism, realism and baroque, and a desire to convey the inner life of the heroes - sometimes through an abundance of everyday details designed to more fully reveal the heroes of the canvases and the world in which they live. Sometimes his works were somewhat decorative in nature due to the emphasized sophistication of the setting and the depicted models. This feature has been preserved in some portraits. late period creativity of the painter.
In 1830, Bryullov began work on big picture with a historical plot - “The Last Day of Pompeii” (1830-1833), commissioned from him by Anatoly Nikolaevich Demidov. The idea of the painting was connected with the fashion for archeology that arose at that time and with the relevance: in 1828, the eruption of Vesuvius occurred. To more accurately and completely convey the tragedy, Bryullov carefully studied numerous literary sources that spoke about the ancient catastrophe, and visited excavations in Pompeii and Herculaneum and made a number of sketches of the landscape, ruins, and fossilized figures on site. It is known that the canvas depicts part of the Street of Tombs, which the artist depicted standing with his back to the city gates. His acquaintance with Yu. P. Samoilova, an aristocrat from the Skavronsky family, relatives of Empress Catherine I, dates back to the same time. Famous portraits“Yulia Samoilova with her pupil and little black girl” and “Horsewoman” (1832, State Tretyakov Gallery, Moscow), as well as the unfinished painting “Bathsheba” (1832, State Tretyakov Gallery, Moscow), with which the artist summed up his creative quests, are also associated with this stage of Bryullov’s life.
The painting “The Last Day of Pompeii” was completed in 1833 and created a real sensation in Europe and Russia. For Russian painting, this work became an innovation primarily because of the plot, which depicted an undistinguished historical figure, and a whole people in the hours of tragedy. Emperor Nicholas I, having seen the picture, wished to personally see Bryullov in St. Petersburg and gave him the order to return to his homeland. However, before returning, the painter accepted the invitation of Count V.P. Davydov to take part in a trip to Asia Minor, Greece and the Ionian Islands. In Athens, Bryullov became seriously ill with yellow fever, which is why he was forced to part with his companions. Having recovered a little, the painter went through Asia Minor to Constantinople, where a new order from the emperor awaited him to immediately arrive in St. Petersburg to take the place of professor at the Imperial Academy of Arts. Finally, in 1836, through Odessa and Moscow, Bryullov returned to St. Petersburg. His stay in Moscow, where the painter arrived in December 1835, dragged on for several months: Moscow greeted Bryullov as a hero, organizing receptions in his honor. At one of these evenings the artist met A.S. Pushkin. Another event was his acquaintance with the famous Moscow portrait painter, former serf V. A. Tropinin: back in Italy, Bryullov had heard a lot about him. The acquaintance grew into a strong friendship: during his stay in Moscow, Bryullov, who highly appreciated both the talent and professionalism of the artist and his personal qualities, often visited Tropinin, more than once neglecting the next ceremonial dinner organized in his honor. However, in addition to attending receptions and visiting Tropinin’s house, Bryullov continued to work on new works, creating portraits of the poet A.K. Tolstoy, his uncle A.A. Perovsky (writer Antony Pogorelsky) and a very poetic and romantic painting “Fortune Svetlana” ( 1836, Nizhny Novgorod Art Museum), inspired by the ballad of the same name by V. A. Zhukovsky.
In St. Petersburg, the painter was awaiting a gala reception at the Academy of Arts and the triumph of “The Last Day of Pompeii.” By his arrival, the painting had already been to Paris (Louvre, 1834), where it was coldly received by Parisian critics, despite the fact that it received first prize at the Paris Salon of 1834: this was (already!) the era of Delacroix and French romanticism. The painting was presented by Demidov to Nicholas I, who placed it in the Imperial Hermitage and then donated it to the Academy of Arts. Currently it is in the Russian Museum.
From 1836 to 1849 Bryullov lived and worked in St. Petersburg. Immediately upon returning to the capital, he was awarded the title of junior (second degree) professor at the Academy of Arts, entrusted with the leadership of the history class of the Academy and asked to paint a large painting on a theme from Russian history, approved by the Academy and approved by the emperor, in order to receive the title of senior professor. Such a painting was supposed to be “The Siege of Pskov by the Polish King Stefan Batory in 1581” (1839-1843, State Tretyakov Gallery, Moscow). Bryullov and the artist-archaeologist F. G. Solntsev, who accompanied him, visited Pskov by order of the emperor, where the artist made many full-scale sketches and studied surviving antiquities. However, the painting remained unfinished, despite such a careful approach to its creation.
In St. Petersburg, Bryullov’s fame as a virtuoso fashionable portrait painter strengthened. Many considered it an honor to be captured by the famous master. Numerous ceremonial portraits of the Russian nobility and the so-called belong to his pen from this period. "intimate portraits" outstanding people of their time, distinguished by a deeper and more meaningful interpretation of the model’s image. Among the most successful and famous works of this genre are portraits of N. V. Kukolnik (1836, State Tretyakov Gallery, Moscow), V. A. Zhukovsky (1837-38), I. A. Krylov (1839, State Tretyakov Gallery, Moscow ), Yu. P. Samoilova with her pupil (another name for the painting “Masquerade”) (1839, State Russian Museum, St. Petersburg), writer A. N. Strugovshchikov (1840, State Tretyakov Gallery, Moscow), brother A. P. Bryullov (1841, State Russian Museum, St. Petersburg) and many others; The creation of the famous “Self-Portrait” (1848, State Tretyakov Gallery, Moscow) dates back to the same time. The artist also tried his hand at the genre of monumental and decorative painting, painting the Lutheran Church on Nevsky Prospekt.
He was a member of the “Elect Michael” box.
In 1843, Bryullov was among the best painters academic school received an invitation to participate in the painting of St. Isaac's Cathedral. He was asked to paint the ceiling of the large dome with figures of the apostles, evangelists and a series of paintings on the theme “The Passion of Christ.” The artist began working on the sketches with great interest. By 1848 they were completed, and Bryullov began the painting itself. However, hard work in the damp, unfinished cathedral undermined the painter’s already weak health, causing heart complications and exacerbating rheumatism, so already in February the artist asked for release from work. His request was granted. By this time, he had already painted almost all the main figures of the ceiling, so P. V. Basin, who was finishing his work, only had to complete the background and create several paintings to decorate the central space of the temple based on Bryullov’s cardboards.
On April 27, 1849, at the insistence of doctors, Bryullov left Russia and, through Poland, Prussia, Belgium, England and Portugal, went to the island of Madeira for treatment. In the same year, the artist returned to Italy, and in the spring and summer of 1850 he visited Spain, studying the paintings of Velazquez and Goya. In the same year, Bryullov finally returned to Italy. At this time, the artist met Garibaldi’s comrade A. Tittoni, in whose house he practically lived recent years of your life. Most of Bryullov's later portraits and watercolors are still kept in private collection this family. Many works of this period are characterized by a certain theatricality and romantic excitement of images, as well as the desire to capture the spirit of the time itself through the images presented, turning them into accurate historical evidence. The last masterpiece The artist became a portrait of his old friend, archaeologist Michelangelo Lanci, created in 1851.
For many years Bryullov was associated with Countess Yulia Samoilova, who was his muse and model.
In 1838, Bryullov met 18-year-old Emilia Timm, the daughter of the Riga burgomaster Georg Friedrich Timm, and fell in love with her. On January 27, 1839, they got married, however, a month later the couple separated forever. Emilia went with her parents to Riga, initiated by Bryullov divorce proceedings lasted until 1841. The reason for the breakup remained unknown to St. Petersburg society, which blamed the husband for everything. Bryullov, slandered, according to him, by his wife and her relatives, became an outcast. Researchers claim that the real reason The break was Emilia’s relationship with one of her close relatives, which continued after her marriage. Probably, Bryullov learned about the bride’s infidelity just before the wedding, which nevertheless took place under pressure from Emilia’s parents. During this difficult time for the artist, Samoilova, who came from Italy to St. Petersburg, supported him.
Bryullov was a contemporary of Delacroix and Ingres. “The Raft of the Medusa” by Géricault was written in 1819, “The Massacre at Chios” - in 1824, and “Freedom on the Barricades” - in 1830. Thus, thematically, Bryullov’s work was not news - it fits well into the academic system to which he belonged Bryullov. Bryullov’s portraits have some impulsiveness and elusive movement; they are pleasant and not dark in color. The melancholy that permeates his late portraits brings Bryullov closer to the romantics.
Attitude to the artist's heritage in cultural environment ambiguous. A. S. Pushkin and many others admired the master’s work, while condemning the decorativeness and abstract romanticism in Bryullov’s work. By his definition, Bryullov painted “crackling pictures with effects, but without poetry and without content.”
Karl Pavlovich Bryullov died on June 11 (23), 1852 in the town of Manziana near Rome, where he was treated with mineral waters. According to the Russian representative in Rome, death occurred three hours after an attack of suffocation. He was buried in the Protestant cemetery of Monte Testaccio.
Paintings by Karl Bryullov:
. Genius of art- 1817-1820 - Gray paper, it. pencil, chalk, charcoal, pastel - 65.2 x 62.2 - State Russian Museum;
. Perseus and Andromeda- 1817-1820 Oil on canvas 43.7 x 28.6 State Russian Museum;
. Portrait of M. P. Kikina as a child- 1817-1820 Paper, watercolor 14 x 12.2 State Tretyakov Gallery;
. Narcissus- 1819 Oil on canvas 162 x 209.5 State Russian Museum;
. Maria Kikina in childhood- 1821 Paper, watercolor, whitewash 22 x 16.8 State Tretyakov Gallery;
. The appearance of three angels to Abraham at the oak of Mamre- 1821 Oil on canvas 113 x 144 State Russian Museum;
. Portrait of actor A. N. Ramazanov- 1821-1822 Oil on canvas 64.5 x 52.5 State Tretyakov Gallery;
. Portrait of State Secretary P. A. Kikin- 1821-1822 Oil on canvas 82 x 71 State Tretyakov Gallery;
. Portrait of M. A. Kikina- 1821-1822 Oil on canvas 82.6 x 71.7 State Tretyakov Gallery;
. Italian morning- 1823 Oil on canvas 62 x 55 Kunsthalle, Kiel;
. Self-portrait. (Not finished)- 1823 Oil on canvas - Private collection;
. Portrait of the architect A.P. Bryullov, brother of the artist- 1823-1827 Oil on canvas 45.5 x 35.2 State Russian Museum;
. Portrait of the architect K. A. Ton- 1823-1827 Oil on canvas 56.5 x 51 State Russian Museum;
. Portrait of an unknown- 1823-1827 Oil on canvas 43.5 x 35 State Russian Museum;
. Erminia with the shepherds. (Not finished)- 1824 Oil on canvas 98.2 x 137.3 State Tretyakov Gallery;
. Portrait of A. N. Lvov- 1824 Oil on canvas 62.3 x 49.5 State Tretyakov Gallery;
. Portrait of S. F. Shchedrin- 1824 Paper, watercolor 93 x 46 (oval) State Russian Museum;
. Portrait of E. P. Gagarina with her sons Evgeny, Lev and Feofil- 1824 - Private collection;
. Portrait of V. A. Perovsky- 1824 Paper, watercolor, varnish 29.7 x 19.4 State Russian Museum;
. Portrait of V. A. Perovsky on the capital of the column - 1824;
. Hope that fuels love- 1824 - Tittoni Collection, Rome;
. Vespers- 1825 Oil on canvas 52.5 x 42.6 State Tretyakov Gallery;
. Pifferari in front of the Madonna- 1825 Oil on canvas 53.5 x 42.5 State Tretyakov Gallery;
. Pilgrims at the door of the Lateran Basilica- 1825 Oil on canvas 62.7 x 53.6 State Tretyakov Gallery;
. Portrait of Chamberlain A.P. Sobakin- 1825 Paper, watercolor;
. Woman sending a kiss to the window- 1826 Paper, sepia, whitewash 21.3 x 18.4 State Russian Museum;
. Vintage Festival- 1827 Paper, watercolor 16.7 x 22.5 State Tretyakov Gallery;
. Portrait of G. N. and V. A. Olenin- 1827 Paper, watercolor, graph. pencil 42.5 x 33.5 State Tretyakov Gallery;
. Interrupted date (The water is already running over the edge)- 1827 Paper, watercolor 16.7 x 22.5 State Tretyakov Gallery;
. Portrait of N.A. Okhotnikova- 1827 Oil on canvas 75.0 x 60.5 State Hermitage;
. Girl picking grapes in the vicinity of Naples- 1827 Wood, oil 62 x 52.5 State Russian Museum;
. - 1827 Oil on canvas 64 x 55 State Russian Museum;
. Portrait of K. A. and M. Ya. Naryshkin- 1827 Paper, watercolor 44.1 x 35.4 State Russian Museum;
. Scene on the threshold of the temple- 1827 Paper, watercolor - Saratov Art Museum named after A. N. Radishchev;
. Last day of Pompeii- 1827-1828 Oil on canvas, Italian pencil 58 x 76 State Tretyakov Gallery;
. Portrait of an unknown woman. (Not finished)- 1827-1830 Paper, watercolor 41 x 26 State Tretyakov Gallery;
. Confession of an Italian- 1827-1830 Paper, watercolor 26.2 x 18.7 State Russian Museum;
. Portrait of musician M. Vielegorsky- 1828 Oil on canvas 138 x 97.5 National Art Museum of the Republic of Belarus, Minsk;
. Portrait of A. M. Gornostaev- 1828 Oil on canvas 49 x 38 State Museum of Fine Arts of the Republic of Tatarstan, Kazan;
. Voltigeur (sketch)- 1828-1830 Oil on canvas 40 x 30 State Russian Museum;
. Portrait of Domenico Marini (Ball Player)- 1828-1830 Oil on canvas 50 x 62 Novgorod State Historical and Artistic and architectural museum-reserve;
. Portrait of A.G. Gagarin (Child in the pool)- 1829 Paper, watercolor 25 x 23; (oval) State Tretyakov Gallery;
. Portrait of Prince G. G. Gagarin- 1829 Paper, watercolor 19.8 x 16.5; (oval) State Russian Museum;
. Portrait of Countess Stephanie Wittgenstein- 1830s - Private collection;
. Dream of grandmother and granddaughter- 1829 Paper, watercolor, bronze, varnish 22.5 x 27.4 State Russian Museum;
. Portrait of Count A. I. Ribopierre- 1829 Paper, watercolor - Private collection;
. - 1829 Oil on canvas 73.4 x 59; (oval) State Tretyakov Gallery;
. Portrait Grand Duchess Elena Pavlovna- 1829-1830 Oil on canvas 73.5 x 58.5 Museum of Fine Arts, Arkhangelsk;
. Portrait of Grand Duchess Elena Pavlovna with her daughter Maria- 1830 Oil on canvas 265 x 185 State Russian Museum;
. Portrait of P. V. Basin- 1830 Paper, watercolor 31.6 x 27.8 State Tretyakov Gallery;
. Italian woman expecting a baby- 1830 Cardboard, watercolor, graphic pencil 19 x 22.5 State Russian Museum;
. Portrait of a military man with a servant- 1830s;
. Girl's head- 1830s - 35.8 x 30.4;
. Self-portrait- 1830-1833 Paper, watercolor, graph. pencil 15 x 14.5 State Tretyakov Gallery;
. Last day of Pompeii- 1830-1833 Oil on canvas 456.5 x 651 State Russian Museum;
. Party in Albano- 1830-1833 Paper, watercolor, varnish, graph. pencil 24.7 x 33 State Tretyakov Gallery;
. A young girl's dream before dawn- 1830-1833 Paper, watercolor, varnish 20 x 25.1 State Museum of Fine Arts named after A. S. Pushkin;
. Italian Afternoon (Italian Woman Picking Grapes)- 1831 - Oil on canvas 27 x 22 State Tretyakov Gallery;
. Nun's Dream- 1831 Paper, watercolor, varnish 22.5 x 27.4 State Russian Museum;
. Mother waking up to baby crying- 1831 Cardboard, sepia 22.5 x 28; (octagon) State Russian Museum;
. Portrait of Giovanni Pacini- 1831 Paper, pencil, watercolor 21.1 x 17.1 Private collection;
. Italian woman with a child at the window- 1831 Cardboard, watercolor, bronze 22.5 x 16.5 State Museum of Fine Arts named after A. S. Pushkin;
. Portrait of A. N. Demidov- 1831-1832 Oil on canvas - Gallery of New Art, Florence;
. Rider- 1832 Oil on canvas 291.5 x 206 State Tretyakov Gallery;
. Bathsheba (Not finished)- 1832 Oil on canvas 173 x 125.5 State Tretyakov Gallery;
. Portrait of S. A. Sobolevsky- 1832 Paper, watercolor? State Russian Museum;
. Self-portrait. (Not finished)- around 1833 Wood, oil 56.5 x 43 State Russian Museum;
. Portrait of the author and Baroness E. N. Meller-Zakomelskaya with a girl in a boat. (Not finished)- 1833-1835 Oil on canvas 151.5 x 190.3 State Russian Museum;
. - 1833-1835 Paper, watercolor 44.4 x 33.6 State Russian Museum;
. Portrait of the writer and politician Giuseppe Capechalatro, Archbishop of Tarentum- 1833-1835 Oil on canvas 65 x 52.5; (oval in a quadrangle) State Russian Museum;
. Portrait of Count C. A. Pozzo di Borgo- 1833-1835 Oil on canvas 71 x 63 Saratov Art Museum named after A. N. Radishchev;
. Portrait of Giuseppina Ronzi de Begnis- 1833-1835 Oil on canvas;
. Portrait of Countess O. I. Orlova-Davydova with her daughter Natalia Vladimirovna- 1834 Oil on canvas 195 x 126 State Tretyakov Gallery;
. Portrait of Italian lawyer Francesco Ascani- 1834 Wood, oil 55.4 x 46; (oval) State Tretyakov Gallery;
. Death of Inessa de Castro- 1834 Oil on canvas 213 x 299.5 State Russian Museum;
. Portrait of Fanny Persiani-Tacchinardi as Amina in Bellini's La Sonnambula- 1834 Oil on canvas 113 x 87 State Russian Museum;
. Date- 1834 Paper, watercolor 22.1 x 18.6 State Russian Museum;
. Portrait of Countess Yu. P. Samoilova with her pupil Giovanina Pacini and a little black boy- 1834 Oil on canvas? Private collection;
. Judith Pasta as Anne Boleyn- 1834 - La Scala Theater Museum, Milan;
. Genseric's invasion of Rome- 1835 Oil on canvas 88 x 117.9 State Tretyakov Gallery;
. At the Bogoroditsky oak- 1835 Oil on canvas 61 x 74 State Tretyakov Gallery;
. Italian woman lighting a lamp in front of the image of the Madonna- 1835 Paper, watercolor, graph. pencil, ink 29 x 19 State Tretyakov Gallery;
. Wounded Greek who fell from his horse- 1835 Paper, sepia, count. pencil 27.5 x 34.5 State Tretyakov Gallery;
. Greek lying on a rock- 1835 Paper, sepia, graph. pencil 27 x 34; (octagon) State Tretyakov Gallery;
. Mountain hunters- 1835 Paper, sepia 26.7 x 18.2 State Tretyakov Gallery;
. Portrait of the Greek insurgent Theodore Kolokotroni- 1835 Paper, sepia 27.5 x 21.4 State Tretyakov Gallery;
. Greek with a horse- 1835 Paper, sepia - State Tretyakov Gallery;
. Greek morning in Miraak
. Village of St. Rocca near Corfu town- 1835 Paper, watercolor - State Museum of Fine Arts named after A. S. Pushkin;
. Delphic Valley- 1835 Paper, watercolor - State Museum of Fine Arts named after A. S. Pushkin;
. Road to Shinano after a thunderstorm- 1835 Paper, watercolor - State Museum of Fine Arts named after A. S. Pushkin;
. Temple of Apollo Epicurean in Phigalia- 1835 Paper, watercolor - State Museum of Fine Arts named after A. S. Pushkin;
. Harbor in Constantinople- 1835 Paper, watercolor 27.6 x 34.7 - State Museum of Fine Arts named after A. S. Pushkin;
. Portrait of Captain A. M. Kostinich- 1835 Paper on cardboard, watercolor 23.3 x 19.1 - State Russian Museum;
. Portrait of V. A. Kornilov on board the brig "Themistocles"- 1835 Paper, watercolor, graph. pencil, varnish 40.4 x 28.9 State Russian Museum;
. Olga Ferzen on a donkey- 1835 Paper, watercolor 51.5 x 39.6 State Russian Museum;
. Portrait of Georg Kleberg- 1835 Oil on canvas 72 x 62; (oval) Art Museum(Riga);
. Portrait of M. I. Buteneva with her daughter- 1835 Paper, watercolor 42 x 31 Private collection;
. Portrait of A. B. Bakunina- 1835 Paper, watercolor;
. Portrait of P. A. Chikhachev- 1835 Paper, watercolor;
. Odalisque- no later than 1835 Oil on canvas - Museum contemporary art Villa Reale, Milan;
. Portrait of E. I. Durnova- 1836 Oil on canvas 71.5 x 62 State Tretyakov Gallery;
. Portrait of N. V. Kukolnik- 1836 Oil on canvas 117 x 81.7 State Tretyakov Gallery;
. Portrait of the poet and playwright Count A.K. Tolstoy in his youth- 1836 Oil on canvas 134 x 104 State Russian Museum;
. Portrait of Count A. A. Perovsky (writer Anton Pogorelsky). (Not finished)- 1836 Oil on canvas 136 x 104 State Russian Museum;
. Fortune telling Svetlana- 1836 Oil on canvas 94 x 81 Nizhny Novgorod State Art Museum;
. Portrait of actress E. S. Semyonova- 1836 Oil on canvas 80 x 59 Theater Museum named after. A. A. Bakhrushina;
. Portrait of the architect M. O. Lopyrevsky- 1836 Oil on canvas - Astrakhan art gallery named after P. M. Dogadin;
. Portrait of Pashkov- 1836 Oil on canvas 41 x 19 National Museum of Arts of Azerbaijan, Baku;
. Portrait of V. I. Orlov- 1836 Oil on canvas 74, 5 (circle) State Russian Museum;
. Portrait of the sculptor I. P. Vitali- 1836-1837 Oil on canvas 94.2 x 76.3 State Tretyakov Gallery;
. Portrait of Adjutant General Count V. A. Perovsky- 1837 Oil on canvas 247.2 x 155.2 State Tretyakov Gallery;
. Portrait of V. A. Perovsky- 1837 Oil on canvas 71.3 x 58 State Tretyakov Gallery;
. Portrait Grand Duchess Maria Nikolaevna- 1837 Oil on canvas 60.2 x 48 State Tretyakov Gallery;
. Portrait of Aurora Karlovna Shernval-Demidova- 1837 Oil on canvas 90 x 71 cm Konstantinovsky Palace;
. Portrait of the poet V. A. Zhukovsky- 1837 Oil on canvas 110 x 83 T. G. Shevchenko Museum, Kyiv;
. Turk- 1837-1839 Oil on canvas 66.2 x 79.8 State Tretyakov Gallery;
. Portrait of Platon Vasilievich Kukolnik- 1837-1839 Oil on canvas 113.8 x 82.5 State Tretyakov Gallery;
. Siege of Pskov. (Not finished)- 1837-1839 Oil on canvas - State Russian Museum;
. Portrait of M. I. Alekseeva- 1837-1840 Oil on canvas 92 x 73; (oval) State Tretyakov Gallery;
. Portrait of U. M. Smirnova- 1837-1840 Oil on canvas 90 x 71.5 State Russian Museum;
. Portrait of E. I. Ton, wife of the artist K. A. Ton- 1837-1840 Oil on canvas 56 x 47; (oval) State Russian Museum;
. Crucifixion- 1838 Oil on canvas 510 x 315; (top rounded) State Russian Museum;
. Portrait of Countess O. P. Fersen- 1838 Oil on canvas 68 x 55; (oval) State Tretyakov Gallery;
. Portrait of V. A. Musin-Pushkin- 1838 Oil on canvas 81.3 x 72.7 Yaroslavl Art Museum;
. Portrait of a man
- 1838 Oil on canvas 88.7 x 71 State Tretyakov Gallery;
. Portrait of I. A. Krylov. (Not finished)- 1839 Oil on canvas 102.3 x 86.2 State Tretyakov Gallery;
. Portrait of sisters A. A. and O. A. Shishmarev- 1839 Oil on canvas 284 x 213 State Russian Museum;
. Portrait of I. A. Beck- around 1839 Oil on canvas 67 x 58 Saratov Art Museum named after A. N. Radishchev;
. Portrait of Baroness I. I. Klodt, wife of the sculptor P. K. Klodt Around 1839 Oil on canvas 44 x 36 Ulyanovsk Regional Art Museum;
. Siege of Pskov by the Polish king Stefan Batory in 1581. (Not finished)- 1839-1843 Oil on canvas 482 x 675 State Tretyakov Gallery;
. Portrait of the writer A. N. Strugovshchikov- 1840 Oil on canvas 80 x 66.4 State Tretyakov Gallery;
. Portrait of A. N. Golitsyn- 1840 Oil on canvas 194.5 x 142 State Tretyakov Gallery;
. Portrait of the architect I. A. Monighetti- 1840 Oil on canvas 49.5 x 42.5; (oval) State Tretyakov Gallery;
. Portrait of M. A. Bek with her daughter- 1840 Oil on canvas 246.5 x 193.5 State Tretyakov Gallery;
. Portrait of M. A. Beck- 1840 Oil on canvas 87 x 70 National Art Gallery of Armenia, Yerevan;
. Portrait of Prince M. A. Obolensky- 1840-1846 Oil on canvas 123.7 x 106.7 State Tretyakov Gallery;
. Portrait of K. A. Yanish- 1841 Oil on canvas 67 x 57.7 State Tretyakov Gallery;
. Portrait of the artist Ya. F. Yanenko in armor- 1841 Oil on canvas 58 x 49.2 State Tretyakov Gallery;
. Portrait of Princess E. P. Saltykova- 1841 Oil on canvas 200 x 142 State Russian Museum;
. Portrait of singer A. Ya. Petrova- 1841 Oil on canvas 79.5 x 67 State Russian Museum;
. Portrait of S. G. Lichonin- 1841 Oil on canvas 80 x 67 Kiev National Museum of Russian Art;
. Portrait of the architect and artist A. P. Bryullov- no later than 1841 Oil on canvas 123.5 x 97.5 State Russian Museum;
. Portrait of Grand Duchess Olga Nikolaevna- 1841 Oil on canvas 61.4 x 55 Samara Art Museum;
. Portrait of Princess M. P. Volkonskaya- no later than 1842 Oil on canvas 103 x 85 State Russian Museum;
. Portrait of Countess Yu. P. Samoilova leaving the ball with her pupil Amazilia Pacini- no later than 1842 Oil on canvas 249 x 176 State Russian Museum;
. Portrait of the Volkonsky children with a blackamoor- 1843 Oil on canvas 146.1 x 124.1 State Tretyakov Gallery;
. Portrait of the architect A. M. Bolotov- 1843 Oil on canvas 65.3 x 54.5 Kirov Regional Art Museum named after V. M. and A. M. Vasnetsov;
. Kiss of Judas- 1843-1847 Brown paper, sepia, whitewash 32.9 x 24.9 State Tretyakov Gallery;
. Portrait of P. I. Krivtsov - 1844;
. According to Allah, the shirt is changed once a year- 1845 Cardboard, sepia 6.5 x 8.6 State Tretyakov Gallery;
. Holy Queen Alexandra- 1845 - Tsarskoe Selo;
. Walking in a stroller- 1845-1846 Oil on canvas 42.5 x 52.6 State Tretyakov Gallery;
. Portrait of S. A. Shuvalova- around 1846 Oil on canvas 65 x 53.8 State Hermitage Museum;
. Portrait of actor V.V. Samoilov. (Not finished)- 1847 Wood, oil 86.5 x 70 State Russian Museum;
. Portrait of N. F. Zdecauer- 1847 Oil on cardboard 57 x 44; (oval) Pskov State United Historical, Architectural and Art Museum;
. Self-portrait- 1848 Oil on canvas 64.1 x 54; (top - semi-oval) State Tretyakov Gallery;
. Horsemen. Portrait of E. I. Mussard and E. Mussard- 1849 Cardboard, watercolor, whitewash, varnish, Italian pencil 63.9 x 51.2 State Tretyakov Gallery;
. Diana, Endymion and Satyr- 1849 Oil on canvas 46.5 x 58.5 State Tretyakov Gallery;
. Portrait of Duke M. Leuchtenberg, E. Mussar, E. I. Mussar, Princess P. R. Bagration, Prince A. A. Bagration, M. I. Zheleznov, N. A. Lukashevich, K. P. Bryullov (“Walk” ") - 1849 Paper, watercolor 31 x 46 State Tretyakov Gallery;
. Portrait of Duke M. Leuchtenberg- 1849 Oil on canvas 97 x 77 Private collection;
. Portrait of Princess A. A. Bagration- 1849 Oil on canvas 60 x 52.8; (oval) State Tretyakov Gallery;
. Nuns of the Convent of the Sacred Heart in Rome singing at the organ- 1849 Oil on canvas 53.4 x 76.3; (top - semi-oval) State Tretyakov Gallery;
. Head of Christ in crown of thorns
- 1849 Cardboard on canvas, oil 48.3 x 40.8 State Tretyakov Gallery;
. Sweet waters near Constantinople- 1849 Paper, watercolor 69 x 87 State Russian Museum;
. Portrait of S. A. Shuvalova- 1849 Oil on canvas 102 x 84.5 State Hermitage;
. Bakhchisarai fountain- 1849 Paper, watercolor 86.5 x 76 State Museum of Fine Arts named after A. S. Pushkin;
. Portrait of F. I. Pryanishnikov- 1849 Oil on canvas 41 x 60 Ivanovo Regional Art Museum;
. View of Fort Pico on the island of Madeira- 1849-1850 Oil on canvas 65 x 77 State Tretyakov Gallery;
. Landscape on the island of Madeira- 1849-1850 Paper, watercolor? State Russian Museum;
. Walk of Louis XV as a child- 1850 Paper, watercolor, graph. pencil 33.4 x 26.5 State Tretyakov Gallery;
. Abbot's head- 1850 Oil on canvas - Private collection;
. Portrait of A. A. Abaza- 1850 Oil on canvas 73.2 x 60 Art Museum (Riga);
. Portrait of Vincenzo Tittoni- 1850-1852 Paper, watercolor - Private collection;
. Portrait of Catherine Tittoni
. Portrait of Mariano Tittoni- 1850-1852 Paper, watercolor - Tittoni Collection, Rome;
. Portrait of Teresa Michele Tittoni with her sons- 1850-1852 Paper, watercolor - Tittoni Collection, Rome;
. Portrait of Michelangelo Lanci- 1851 Oil on canvas 61.8 x 49.5 State Tretyakov Gallery;
. Portrait of Angelo Tittoni
. Portrait of Juliet Tittoni in armor- 1851-1852 - Tittoni Collection, Rome;
. Girl in the forest- 1851-1852 Oil on canvas - Tittoni Collection, Rome;
. Lazzaroni and children- 1851-1852 Paper, sepia 22.2 x 18.8 State Tretyakov Gallery;
. At noon- 1851-1852 Paper, sepia 22.1 x 18.8 - State Tretyakov Gallery;
. Forced bathing- 1851-1852 Paper, watercolor, graph. pencil - State Tretyakov Gallery;
. Portrait of Countess Yulia Pavlovna Samoilova- 1830 - Cardboard, black watercolor, sepia, graphite pencil 16.3 x 12.7 - Private collection
