Karl Bryullov "Horsewoman". Description of the painting

Great masterpieces of art always conceal great mysteries. Even a seemingly ordinary portrait of a famous person contains so many secrets and mysteries that it gives food for thought to more than one generation of art critics. Among these paintings is the painting “Horsewoman” by the famous Russian artist Karl Bryullov.

At first glance, the picture does not represent anything special. The genre is a portrait of a young girl riding a horse returning from a walk, and a little girl enthusiastically greeting her older sister. The scene takes place on the Countess's estate in the outskirts of Milan. The canvas is full of life and joy. The dynamics are created by the horse, which is barely restrained by the reins of a young girl. Her cheeks are flushed and give life to her figure. The little girl looks at her with genuine interest. A shaggy dog is jumping for joy nearby. On his collar you can see the inscription “Samoilova”, which at one time misled art lovers who believed that the portrait of the horsewoman was painted by the countess herself.

However, researchers, having compared the ceremonial portraits of the countess and the facial features of the girl in the portrait, came to the conclusion that this was still a portrait of the senior pupil, Giovanni Paccini. This fact is also supported by the fact that in his notes Bryullov calls this portrait “Zhovanin on a horse.” This canvas was painted by the artist commissioned by his friend and favorite muse, Countess Yulia Samoilova, for her gallery. It is believed that these are portraits of Samoilova’s young pupils Giovanni and Amazilia Paccini. However, meticulous art lovers, having compared the facial features of the girls in this portrait and others where they are depicted with their adoptive mother, came to the conclusion that they are different.

This may seem incredible, but there is reason for such an assumption. Around the same time, engravings of this painting appeared in Italy and were considered a portrait of one of the most famous and beloved singers of that time, Maria Malibran, who was the sister of Pauline Viardot.

So, who is this mysterious figure, Maria Malibran?

The girl was born in musical family, which determined it future fate. Her father was a famous Spanish composer, singer and teacher; mother, sister and brother sang leading parts on the main opera scenes Europe. From the age of six, Maria studied music and singing, career opera singer became her whole life. Beautiful, fragile, gentle, possessing a magical in a strong voice, she was a crowd favorite. While performing on stage, she devoted herself entirely to art, without sparing own life. She sang as she lived. This later became the cause of her tragic death. Maria Malibran died at the age of 28 almost on stage.

Shortly before the tragedy, Maria received serious injuries after falling in a horse: the young woman loved horse riding and various dangerous tricks. Just a few days after the fall, she stood on stage, barely able to stand on her feet from unbearable pain, and sang so desperately and soulfully that the audience gave a standing ovation and called their favorite for an encore many more times. After the performance. barely reaching the dressing room, Malibran practically fell unconscious and died. This story gave rise to many romantic ballads about the singer, who lived by her art and died at the very peak of her fame to the applause of the public.

So, if there are so many coincidences in life, maybe Bryullov’s heroine really was an exalted Spanish prima, a favorite of the public, and great artist preserved her image for us.

K. Bryullov. "Rider". Oil. 1832.

“The Russian painter Karl Bryullov painted a real-size portrait depicting a girl on a horse and a girl looking at her. As far as we can remember, we have not yet seen an equestrian portrait conceived and executed with such skill... This portrait shows us a painter who speaks out at once, and, more importantly, a brilliant painter.”
This and other, no less flattering, reviews appeared in Italian newspapers in 1832. The painting “Horsewoman” aroused the interest and admiration of art lovers. Portrait of Amatsilia and Giovanni Pacini, pupils of Countess Yu. P. Samoilova.”

Now the canvas is kept in the State Tretyakov Gallery and continues to attract spectators. The artist’s plan happily combined the majesty of the ceremonial portrait and the simplicity, poetic spirituality of the living, spontaneous characters of the two heroines.

Few know the history of creation and fate of the work. “The Horsewoman” was written in 1832, when Karl Pavlovich Bryullov lived in Milan, in northern Italy. The artist’s close friend, wealthy aristocrat Yulia Samoilova, commissioned the young master to paint a portrait of her students. These were the daughter and young relative of the deceased composer Giuseppe Pacini. The same Pacini, whose opera “The Last Day of Pompeii” prompted Bryullov on the theme of the future famous painting. The painter painted two sisters in a villa near Milan.

In the center of the picture, Giovanni Pacini is depicted on a hot horse. The horse gets excited, but the rider sits straight and proud, confident in herself. To the left of the young Amazon is the balcony onto which she ran out younger sister, in the background there is a shady park.

The overall silhouette of the rider and horse forms the semblance of a triangle - a stable, long-favored form of constructing a ceremonial portrait. This is how many compositions were solved by Titian, Velazquez, Rubens, and Van Dyck. Under Bryullov’s brush, the old compositional scheme is interpreted in a new way. The artist introduces the figure of a child into the picture. The little girl, hearing the horse's tramp, quickly ran out onto the balcony and stretched out her hand through the bars. Both delight and fear for the rider are expressed on her face. A note of living, direct feeling tempers the cold majesty of the portrait, giving it spontaneity and humanity.

The shaggy dog depicted on the canvas helps to create the impression that in the painting the space unfolds not only in depth, but also exists in front of the characters.

The painting was exhibited in Milan, and then Yu. P. Samoilova’s guests could see it among other works of art. In 1838, the famous Russian poet and translator V. A. Zhukovsky admired the portrait.

Subsequently, traces of the canvas are lost for a long time. Yu. P. Samoilova became poor, moved from Italy to Paris and took with her a portrait of her pupils. She broke up with him at the very end of her life, in 1875. Repin, while in Paris in the summer of 1874, wrote to P. M. Tretyakov that “some Countess Samoilova here sells several things by K. P. Bryullov...”. But he did not have time to buy the painting.

For the second time, the work came to the attention of Russian art collectors in late XIX century. A French art dealer exhibited “The Horsewoman,” or “Amazon,” as it was also called, at the Academy of Arts in St. Petersburg. In 1893, P. M. Tretyakov acquired it for his famous meeting Russian painting. Since then, “The Horsewoman” has been decorating the gallery’s halls.

Today, looking at this work, you understand how right the Italian art connoisseur was when he called the young Karl Bryullov a brilliant artist just for this one portrait. The master boldly combines pink dress girls, the velvety black color of the horse’s fur and the white robe of the rider. Bryullov gives a complex harmony of pink-red, bluish-black and white shades. The painter, as it were, deliberately chooses not close, but contrasting, especially complex in painting, combinations. But each tone was developed masterfully by the master, in many subtle gradations. The pictorial layer is not overloaded anywhere, and this enhances the sound of the paint on the light ground. Bryullov achieved a special tonal harmony here. There are no careless, sluggishly painted places in the portrait.

Self-portrait. 1848. Oil on cardboard.
State Tretyakov Gallery, Moscow

When “The Horsewoman” was created, Karl Bryullov was thirty-three years old. Ahead was the triumph of Pompeii, series famous portraits contemporaries, friendship with Pushkin, Glinka. There was a whole life ahead...

(from Alexandrina-Victoria's diary)

In the building Tretyakov Gallery in Lavrushinsky Lane, in room No. 9, there is a painting that is difficult not to notice. The inscription under it reads: K. P. Bryullov, “Horsewoman.” It is impressive in size: the rider on a magnificent horse is depicted life-size.

Even more striking is the joy of existence radiated by the canvas and the highest pictorial skill with which the beauty of a frozen moment is conveyed.

Great Charles

The richest families in Europe and Russia wanted portraits by him; the colossal painting “The Last Day of Pompeii” impressed both Western European and Russian audiences. “The Horsewoman” was also called a magnificent achievement. Bryullov Karl Pavlovich (1799-1852) became one of the first Russian painters to receive European recognition. He was commissioned to take a self-portrait for the Uffizi Gallery, and such orders were received by artists who had earned the reputation of true masters.

Who created in academic style, Bryullov, while living in Italy, became imbued with classic images great painting Venice, Florence, Rome and Milan. Natural talent and great hard work made him an excellent draftsman and a virtuoso master colors. These qualities of a great painter were used to create romantic images endowed with a bright radiance of absolute beauty. Bryullov’s painting “Horsewoman” is a pearl from a whole Italian necklace of such images.

Italian beauty with a Russian soul

Under the southern sky of the Apennine Peninsula, the artist spent one of the happiest and most fruitful periods of his life. The pension awarded for successful completion of the Academy of Arts allowed Karl Pavlovich to live in Italy for 12 years - from 1823 to 1835. All works of this time, including Bryullov’s painting “Horsewoman,” are permeated strong emotions and the emotional excitement of youth. Here he received real recognition from critics and viewers.

The next time the artist returned to Italy was shortly before his death. In creativity last stage Romantic elation remained in life, but increasingly complemented by melancholy and fatigue. The ideal is spiritualized female beauty, which is clearly expressed in the work “Horsewoman,” Bryullov Karl Pavlovich remained faithful until the last hour.

Characters

Many true masterpieces live their own lives after birth, often changing the name given by the author. Bryullov’s painting “Horsewoman” is one of them. The artist designated the work exhibited in 1832 as “Zhovanin on a Horse.” Giovanna Pacini and her younger sister Amatzilia are orphans whose fate was discussed at one time by all of Rome. secular society. Unexpectedly, they were adopted by Bryullov’s good friend, Russian Countess Yulia Pavlovna Samoilova. Karl Pavlovich captured Giovanna on another famous painting- a brilliant ceremonial portrait, where she is depicted together with her adoptive mother and her blackamoor.

Yulia Samoilova herself was Bryullov’s favorite model, muse and true friend. He found his ideal in her external beauty and charm, not devoid of deep inner content, and he used Samoilova’s appearance in tragic images dying Pompeii.

Plot

The young beauty rode up to the house on a magnificent black horse. The wonderful animal has not yet cooled down after galloping through the shady park visible in the background. The excited appearance of the horse, the excitement of the recent race, the clearly audible snorting and stepping of hooves - all this is superbly conveyed by Bryullov. “The Horsewoman” is full of movement, which involves a girl running out to meet her with an elegant greyhound dog, and a dog spinning around the horse’s legs.

The artist Bryullov creates a double portrait of two people he knows; “The Horsewoman” is full of a physical feeling of excitement and joy of life. And yet we see a sophisticated work created according to academic recipes. Against the backdrop of a very busy baby face, expressing complete delight, the face and pose of the rider are slightly restrained and distant, the beautiful veil exquisitely frozen in the air, the evening sky emits a mysterious light, and the surroundings are a little theatrical.

Genre

By all indications before us ceremonial portrait: large size, carefully painted clothes with exquisite shimmers of fabric, classic beauty and dignity of the main character. A man on a horse is usually always monumental, but how unexpectedly he approaches the genre large portrait Bryullov! “The Horsewoman” is full of both lyricism and poetry.

The portrait resemblance and character are undeniable, but how spontaneous is the younger sister in her joy, how many pent-up feelings there are in the face of the rider! Portrait-painting - this is how you can call “Horsewoman”.

The main character seems refined and refined, but a thin hand in a white glove confidently holds the reins - the powerful strength and animal energy of the horse does not get out of control. Taming violence with gentle beauty is one of the most popular characters era of romanticism.

Another aspect of skill that Bryullov demonstrates is admirable. "Horsewoman" - outstanding work an attentive and precise animal artist. How beautifully the animals are written! The dogs are depicted with the love of a true connoisseur; the powerful muscles of the horse under the thin iridescent skin and its wild, furious eye are unforgettable.

A true romantic

And he had enemies. Bryullov was called a salon artist, interesting only to an undemanding and jaded public, because he had so much of everything - light, color, textures. Yes, for any other artist, the models and subjects used by the master would have turned into squalor and bad taste. But he is a genius, he is Bryullov! Karl Petrovich’s “Horsewoman,” whose description in the form of text is a typical commissioned portrait for a capricious rich man with a minimum of depth and a maximum of beautiful fabrics and purebred animals, is an inspired hymn to childhood and youth, beauty and health, fullness and happiness of life.

Karl Pavlovich Bryullov is one of the famous Russian masters of painting. Watercolorist, adherent of 19th century academicism. In 1822 he was sent on a mission to Italy, the purpose of the trip was to collect financial assistance Society for the Encouragement of Artists. The master created a creation called “Horsewoman”. Depicted is a portrait of Amalicia Pacini, Giovannina - the wards of Countess Samoilova. Those interested in who painted the painting “Horsewoman” often come across another interpretation of the title - “Amazon”. The work was published in 1832.

The history of the painting “Horsewoman”

Y. Samoilova asked to create the creation. The artist was known as close friend beauties. The beloved's surname is noticeable on the canvas (who noticed the dog's collar). Presumably, the young people met in Italy. Julia ordered a portrait of her wards from the artist. Amalicia (the youngest girl) is the daughter of the composer Giuseppe Pacini. Interesting fact: previously operatic work given musical author“The Last Day of Pompeii” inspired Karl to create the work of the same name.

The painting was created in a villa (outskirts of Milan). The work was shown at the Brera Gallery in Milan. The canvas instantly received a lot of reviews, positive and negative. Italian newspapers called Karl unsurpassed master brushes Comparisons were made with Rubens and Van Dyck. Critics noted: the rider’s face was lifeless, simply frozen without emotion. The job description was as follows: main character sits too freely on horseback. The feeling of speed and the idea of dynamics are neutralized.

For four decades the work was part of the Countess's collection. Julia was rich, bought and sold houses, estates, works of art. But towards the end of his life the situation changed. Shortly before her death (1872), Julia, already bankrupt, sold the work to Parisian art connoisseurs. Fate brought Karl Bryullov’s creation, “The Horsewoman,” to St. Petersburg. In 1874, a letter was sent to Tretyakov: the painting was for sale. Tretyakov was late with the acquisition, but in 1893 the desired item was added to the collection.

According to a considerable number of assumptions, the canvas depicts Countess Samoilova. Experts have refuted the assumption. A different representative of the fair sex was written. A reproduction of the painting “Horsewoman” by Bryullov is housed by the State Russian St. Petersburg Museum. The work continues to receive many responses.

Description of the painting “Horsewoman” by Bryullov

The central figure is Giovanina, riding a magnificent horse. The beauty is self-confident. This is noticeable in the position: he sits, keeping his back straight, his head raised, even if the horse is prancing. Giovannina returned from a walk, which is indicated by a slight blush touching her cheeks. The facial expression is a little distant. The beauty's clothes are fashionable: light blue tones, a dark green veil blown by the wind.

The canvas is permeated with dynamics: the horse rears up, the dog runs towards. Amalicia on the balcony. The girl heard horse tramping. The girl's face expresses both admiration and fear. The baby is fascinated by the young rider, her sister is adored. Amalicia is dressed unpretentiously: lace pantaloons, a house dress pink color. A real feeling of admiration, childishly spontaneous, gives some softness to the portrait of the arrogant beauty.

How many animals are in the painting “Horsewoman”? 3 - 2 dogs and a horse. The background of the canvas is a shady park. The trees sway from the strong wind. The skies are tightening storm clouds. Karl, like a considerable number of creators, used classic shape formation of a ceremonial portrait - triangular. The approach is typical for the works of Rubens, Titian, Velazquez, Van Dyck. The silhouette of a rider and a horse forms a triangle. But the artist breaks the traditional approach: he appears new figure. An unusual addition is a shaggy dog. The presence of an animal creates the impression that there is space in front of the characters in the picture. Then an equestrian portrait could not be done without the presence of the rider as a crowned person. Karl violated the postulate. The young pupil of his beloved sits in a regal pose on a black horse.

The picture is filled with joy from meeting after a short absence. Contemplating the work of a great artist takes your breath away. The viewer finds himself in joyful atmosphere. Karl professionally presented the atmosphere that was then in the estate of the woman he loved, Countess Yulia Samoilova.

Karl’s painting was rightfully chosen as a model portrait painting 19th century. The author of the painting “Rider on a Horse” created impeccable proportions. The audience is presented with an unsurpassed unity of colors, details are worked out. Visitors to the gallery can fully enjoy the art carried through the years.

“The Apotheosis of War” Vasily Vereshchagin

The painting was painted in 1871 under the impression of military operations in Turkestan, which amazed eyewitnesses with their cruelty. Initially, the canvas was called “The Triumph of Tamerlane,” whose troops left behind such pyramids of skulls. According to history, one day the women of Baghdad and Damascus turned to Tamerlane, complaining about their husbands, mired in sins and debauchery. Then the cruel commander ordered each soldier from his 200,000-strong army to bring the severed head of their depraved husbands. After the order was carried out, 7 pyramids of heads were laid out.

“Unequal marriage” Vasily Pukirev

The painting depicts the wedding process in Orthodox Church. A young bride without a dowry marries an old official against her will. According to one version, in the picture - love drama the artist himself. The prototype in the image of the bride is the failed bride of Vasily Pukirev. And in the image of the best man, depicted at the edge of the picture behind the bride, with his hands folded on his chest, is the artist himself.

"Boyaryna Morozova" Vasily Surikov

Giant in size (304 by 586 cm) painting by Vasily Surikov depicts a scene from history church schism in the 17th century. The painting is dedicated to Feodosia Prokopievna Morozova, an associate of the spiritual leader of the supporters of the old faith, Archpriest Avvakum. Around 1670 she secretly became a nun, in 1671 she was arrested and in 1673 she was sent to the Pafnutiev-Borovsky Monastery, where she was starved to death in an earthen prison.

The painting depicts an episode when noblewoman Morozova is transported around Moscow to the place of imprisonment. Next to Morozova is her sister Evdokia Urusova, who shared the fate of the schismatic; in the depths is a wanderer, in whose face one can read the features of an artist.

“We didn’t expect” Ilya Repin

The second painting, painted between 1884 and 1888, depicts the moment when a political exile unexpectedly returned home. The boy and the woman at the piano (apparently his wife) are happy, the girl looks wary, the maid looks incredulously, and deep emotional shock is felt in the hunched figure of the mother in the foreground.

Currently, both paintings are part of the Tretyakov Gallery collection.

"Trinity" Andrey Rublev

The Tretyakov Gallery has a rich collection of ancient Russian painting from the 11th to 17th centuries, including works by Dionysius, Simon Ushakov and Andrei Rublev. In room 60 of the gallery hangs one of the most famous and celebrated icons in the world - “The Trinity”, painted by Andrei Rublev in the first quarter of the 15th century. Three angels gathered around the table on which the sacrificial cup stood for a quiet, unhurried conversation.

“The Trinity” is stored in the hall of ancient Russian painting at the Tretyakov Gallery, in a special glass cabinet in which constant humidity and temperature are maintained, and which protects the icon from any external influences.

“Unknown” Ivan Kramskoy

The location of the film is beyond doubt - it is Nevsky Prospekt in St. Petersburg, Anichkov Bridge. But the image of the woman still remains a mystery to the artist. Kramskoy left no mention of an unknown person either in his letters or in his diaries. Critics connected this image with Leo Tolstoy’s Anna Karenina, with Fyodor Dostoevsky’s Nastasya Filippovna, names were mentioned famous ladies Sveta. There is also a version that the painting depicts the artist’s daughter, Sofia Ivanovna Kramskaya.

IN Soviet era Kramskoy’s “Unknown” has become almost Russian Sistine Madonna- ideal unearthly beauty and spirituality. And it hung in every decent Soviet house.

"Bogatyrs" Viktor Vasnetsov

Vasnetsov painted this picture for almost twenty years. On April 23, 1898, it was completed and was soon purchased by P. M. Tretyakov for his gallery.

In epics, Dobrynya is always young, like Alyosha, but for some reason Vasnetsov portrayed him as a mature man with a luxurious beard. Some researchers believe that Dobrynya’s facial features resemble the artist himself. The prototype for Ilya Muromets was the peasant of the Vladimir province Ivan Petrov, whom Vasnetsov had previously captured in one of his sketches.

By the way, Ilya Muromets is not fairy tale character, A historical figure. The story of his life and feats of arms- This real events. Having grown old and having completed his labors to protect his homeland, he became a monk of the Kiev Pechersk Monastery, where he died in 1188.

“Bathing the Red Horse” Kuzma Petrov-Vodkin

The painting “The Bathing of the Red Horse,” which amazed contemporaries with its monumentality and fate, brought the artist Kuzma Petrov-Vodkin world fame. The red horse acts as the Fate of Russia, which the fragile and young rider is unable to hold. According to another version, the Red Horse is Russia itself. In this case, one cannot help but note the prophetic gift of the artist, who symbolically predicted with his painting the “red” fate of Russia in the 20th century.

Petrov-Vodkin based the horse on a real stallion named Boy. To create the image of a teenager sitting on a horse, the artist used the features of his student, artist Sergei Kalmykov: “For the information of future compilers of my monograph. Our dear Kuzma Sergeevich portrayed me on a red horse. ...In the image of a languid youth on this banner I am depicted in person.”

"The Swan Princess" Mikhail Vrubel

The painting was painted in 1900 based on the stage image of the heroine of N. A. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan” based on the plot fairy tale of the same name A. S. Pushkin. Vrubel designed this performance, and the part of the Swan Princess was performed by the artist’s wife Nadezhda Zabela-Vrubel. “All singers sing like birds, but Nadya sings like a person!” - Vrubel spoke about her.