"The death of Pompeii" can be called one of the little-known masterpieces Ivan Konstantinovich Aivazovsky. Historical event, the tragedy of the ancient city, inspired the painter to approach the plot with new thoughts.

Artist

Ivan Aivazovsky, or Ovanes Awazyan, was and remains one of the most famous marinas of Russia. His sea landscapes Love and appreciate all over the world. Works are exhibited at popular auctions "Sothebyis" and "Christis" for millions of sterling.

Born in 1817, Ivan Konstantinovich lived eighty-three years and died calm death in a dream.

Ovasnes was born in the merchant family of Armenians from Galicia. Later, he recalled that his father was first distinguished from his roots and tried even the surname to pronounce on the Polish manner. Ivan was proud of his educated parent who knew several languages.

From his birth, Aivazovsky lived in Feodosia. His talents to art earlyly noticed architect Yakov Koch. It was he who began to teach Ivan painting.

Sevastopol mayor, seeing the gift of the future Matra, also took part in his formation as an artist. Young talentThanks to the efforts sent to learn for free in St. Petersburg. Like many other well-known Russian artists, Aivazovsky was a leaving from the Art Academy. She largely influenced the preferences of the classic of marinistics.

Style

The Art Academy in St. Petersburg helped to form the style of Aivazovsky, thanks to the studies of Johann Gross, Philip Tanner, Alexander Sauerwide.

Drawing "Stil", Ivan Konstantinovich in 1837 receives a gold medal and the right to go to Europe.

After that, Aivazovsky returns to the Crimea, to his homeland. There, he writes marine landscapes for two years, and also helps the army in battles against the enemy. One of his paintings of that period I bought the emperor Nicholas first.

Upon returning to St. Petersburg, he was honored noble title. In addition, he will acquire such famous friends as Karl Bryullov and composer Mikhail Glinka.

Wearing

Since 1840, the pilgrimage of Iivazovsky in Italy begins. On the way to the capital, Ivan and his friend Vasily Sternberg are visiting Venice. There they get acquainted with another representative of the Russian elite Gogol. which has already become famous in Russian Empire, visited many italian cities, visited Florence, Rome. For a long time remained in Sorrento.

For many months, Aivazovsky stayed at his brother, who became a monk on the island of Saint Lazar. In the same place, he communicated with the English poet George Bayron.

The work of "chaos" bought from him Pope Grigory Sixteenth. Critics were killed to Aivazovsky, and the Paris Art Academy even gave him a medal for merit.

In 1842, Marinister leaves Italy. After moving through Switzerland and Rhine, rides in Holland, later in the UK. On the way back, Paris, Spain and Portugal visits. Four years later, he is again in Russia.

Aivazovsky, living in St. Petersburg, became an honorary professor of the Academy as this city and Paris, Rome, Stuttgart, Florence and Amsterdam. He continued to write sea paintings. On his account more than 6,000 landscapes.

From 1845 he lived in Feodosia, where he founded his school, helped create a gallery, initiated the construction railway. After death, an unfinished canvas "Explosion of the Turkish Ship" remained.

Famous paintings

Pictures of Aivazovsky were hotly loved by representatives of all estates of the Russian Empire, and later Soviet Union. Almost every modern familyAt at least one reproduction of Ivan Konstantinovich is stored at home.

His name has long become a sign highest quality Among the marinists. The most popular are the works of the artist:

• "Ninth Val".
• "Farewell to Pushkin with the Sea", which he wrote along with Repin.
• "Rainbow".
• « Moonlight night On the Bosphorus. "
• Among the masterpieces, which was written by Aivazovsky, "the death of Pompeii".
• "View of Constantinople and Bosphorus."
• "Black Sea".

These paintings appeared even on postage stamps. They were copied, embroidered with a cross and stroke.

Confusion

Interestingly, many confuse the "death of Pompeii". The picture, who wrote her, know not everything, has nothing to do with the Brullian cloth. His work is called the name "Last Day Pompeii".

Posted by Karl Pavlovich in 1833. It depicts ancient people running from the erupting volcano. Bryrytov residents of Pompeii are locked in the city itself. "The death of Pompeii", the description of the picture is very different, transmits a completely different idea.

Aivazovsky's landscape was written in 1889, much later than his predecessor. It is likely that, being a friend of Bryullov, a marine could be inspired by the same chosen theme of the antique period tragedy.

Picture history

The most uncharacteristic work of Aivazovsky is considered "the death of Pompeii". The picture was created in 1889. As a basis, he took the plot of history. What happened to the city is still considered one of the largest natural disasters in the world. Pompeii, once a beautiful antique settlement, were located near Naples, near acting volcano. In 79, an eruption began, which took with him hundreds of lives. Description of the picture of Aivazovsky helps convey all these events.

If Bryullov showed in his canvas, how the city and people inside it could look, then Aivazovsky focused on the sea.

"The death of Pompeii." Picture: Who wrote and what I wanted to say

Being a marinist, Ivan Konstantinovich focused on the transfer of the plot outside the city. History and so tells us how the death of Pompei ends. The picture is written in very dark scarlet tones, symbolizing all human life, buried alive under the lava layer.

The central figure of the canvas is the sea for which ships float. The city of illuminated by Looy can be seen. Sky dark from smoke.

Despite the whole horror of this event, Aivazovsky gives a certain hope for a lighter future, showing the vessel overcrowded by saved people.

Ivan Konstantinovich wanted to convey despair those who saw the death of Pompeii. The picture is not focused on the faces of dying people. However, about the whole tragidity and horror of the situation says as if hot seas. Bagps, black and yellow colors dominate on the canvas.

On the central plan two large ships that fight seasy waves. In the distance, several more, hurrying to leave the place of death, in which residents of the city were forever frightened on the "death of Pompeii" cannon.

If you look closely, at the top, in the rings of smoke there is an erupting volcano, from which they pour on the ancient temples and houses of the Lava River. Aivazovsky strengthened by adding a lot of black points of the ashes of the ashes along the picture.

View picture

"The death of Pompeii" - a picture written oil colorsOn the usual canvas of 128 sizes to 218 cm, stored in Rostov.

It is an integral part of the collection here take visitors every day from 10.00 am to 18.00 in the evening. Closed museum only on Tuesdays. Address: Pushkinskaya Street, house 115.

The cost of a regular ticket without benefits will cost a visitor in 100 rubles. Children who still do not go to school will need to pay 10 rubles. Schoolchildren can pay entrance ticket 25 rubles. Students pay 50 rubles, and retirees 60 rubles.

The museum's collection also contains other canvas of Aivazovsky, such as the "Sea" and "Moonlight". Nevertheless, the pearl collection is the "death of Pompeii". Description of the picture gives a clear idea of \u200b\u200bhow formidable nature can be.

The last day of Pompeii

Artists - Keepers of history, reflecting many events in their paintings. The tragedy that happened to the ancient city of Pompei as a result of Vesuviya's eruption was reflected on the Karl Pavlovich Bullov's canvas.

Horror covers the viewer who saw this work. Unfortunate people who are doomed to death in panic run, without disassembled the roads, the mothers convulse to themselves to themselves, someone drags on themselves those who cannot independently escape, wounded and old people. In each face, in each glance, despair, pain and fear of understanding of sustainable and inevitable death are read. Horses get up on rapid riders. The first victims are already lying on the stone slabs.

All this is happening against the background of the gray city covered by bright red angry fire, devouring everything around with their flaming languages. The sky is covered or thunderstorm clouds, or smoke, rising from the vulcan.

K.P. Bromlov with an amazing liveliness transfers the feelings, the heroes depicted in the picture. It thoroughly draws every detail, because each carries a huge contribution to the general image. This work cannot leave a single person indifferent. Anyone reviewing it carefully will feel some confusion, excitement and sadness.

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K. P. Bullov
The last day of Pompeii. 1830-1833
Canvas, oil. 465.5 × 651 cm
State Russian Museum, St. Petersburg

The last day of Pompeii is the picture of Karl Pavlovich Bryullov, written in 1830-1833. The picture had an unprecedented success in Italy, was awarded the gold medal in Paris, in 1834 she was delivered to St. Petersburg.

For the first time, Carl Bryullov visited Naples and Vesuvius in July 1827, on the fourth year of his stay in Italy. He did not have a specific travel purpose, but there were several reasons for this journey. In 1824, Pompeii visited the painter's brother - Alexander Bullylov and, despite the restraint of his nature, enthusiastically talked about his impressions. The second reason for visiting was the hot summer months and almost always accompanying the outbreaks of fever in Rome. The third reason was the recently rapidly arising friendship with the princess Yulia Samoylova, who also went to Naples.

Spectacular deceased city Oshhelomilib Bryullov. He stayed in it for four days, without once bypassed all the catches. "Going out in the summer in Naples, nor the Bullels himself, nor his companion did not know that this is an unknown journey will lead the artist to the highest vertex of his work - the creation of a monumental historical canvas" Last Day Pompeii "- writes art historian Galina Leontiev.

In 1828, during the next visit to Pompeii, Bryullov made a lot of sketches for the future painting about the famous eruption of Vesuvius volcano in 79. e. and the destruction of this city. The canvas exhibited in Rome, where he received enthusiastic feedback critics, and was transferred to the Paris Louvre. This work was the first picture of the artist, which caused such interest abroad. Walter Scott called the picture "Unusual, Epic".

Classical theme, thanks artistic vision Bryullov and an abundant game of lighting, poured into work, a few steps forward to the non-defective style. "Last Day Pompeii" perfectly characterizes classicism in Russian painting, mixing with idealism, increased interest in the captivity and passionate love of the time to such historical plots. An image of an artist in the left corner of the picture is a self-portrait of the author.

(detail)

On the canvas, Julia Pavlovna Samoilova is also depicted three times - a woman with a jug on his head, standing on the elevation in the left side of the canvas; A woman who broke to death, spread on the pavement, and next to her a living child (both, presumably threw out of a broken chariot) - in the center of the canvas; And the mother, attracting daughters, in the left corner of the picture.

(detail)


(detail)


(detail)


(detail)


(detail)

In 1834, the picture "Last Day Pompeii" was sent to St. Petersburg. Alexander Ivanovich Turgenev said that this picture was the glory of Russia and Italy. E. A. Baratsky composed on this occasion famous aphorism: "The last day of Pompei became for the Russian brush first day!". A. S. Pushkin responded to the poem: "The idols are falling! People, persecuted by fear ... "(this line forbade censorship). In Russia, the Bullov canvas perceived not compromise, but an exceptionally innovative work.

Anatoly Demidov presented the picture to Nicholas I, who put it at the Academy of Arts as a guide for beginner painters. After the opening of the Russian Museum in 1895, the canvas moved there, and a wide public was accessible to him.

Canvas, oil.
Size: 465.5 × 651 cm

"The last day of Pompeii"

"Last Day Pompeii" is terrible and beautiful. She shows how powerless man before angry nature. Affects the talent of the artist who managed to transfer all the fragility human life. The picture silently screams that there is nothing more important in the world human tragedy. The thirty-meter monumental canvas opens each of those pages of history, which no one does not want to repeat.

... Of the 20 thousand inhabitants of Pompeii, 2000 people died on the streets of the city. How many of them remained buried under the wreckage of houses - it is unknown to today.

Description of the painting "Last Day Pompeii" K. Brullova

Artist: Karl Pavlovich Bullelov (Bliffs)
Title Picture: "Last Day Pompeii"
Picture written: 1830-1833
Canvas, oil.
Size: 465.5 × 651 cm

Russian artist pushkin era know as a portraitist and the last romance of painting, and not in love with life and beauty, but rather as worried tragic conflict. It is noteworthy that small in the size of Watercolor K. Bryullov during his life in Naples were brought by aristocrats from trips as a decorative and entertainment souvenir.

A strong influence on the work of the Master had a life in Italy, and a journey through the cities of Greece, as well as friendship with A. S. Pushkin. The latter has a radically affected the vision of the world of graduate of the Academy of Arts - the fate of all mankind is in its first place in his works.

How can not be brighter this idea reflects the picture "The last day of Pompeii"Based on real historical facts.

The city near modern Naples died in the eruption of Vesuvius volcano. This is also told by the manuscripts of ancient historians, in particular, the junior pole. He says that Pompey was famous for all Italy with a mild climate, therapeutic air and divine nature. Patricia was worth the villas here, the emperors and commander came to rest, turning the city in an ancient version of ruble. It is reliably known that there was a theater, water supply and roman baths.

August 24, 79 years. e. People heard a deafening roar and saw the pillars of fire, ashes and stones began to escape from the depths of Vesuvia. The earthquake previously preceded the disaster in the afternoon, so most of the people had to leave the city. The remaining did not escape from the ashes who had reached Egypt and volcanic lava. A terrible tragedy came in seconds - houses collapsed on the head of the inhabitants, and the meter layers of volcanic precipitation covered everyone without exception. Panic began in Pompei, but there was nowhere to run.

This moment is depicted on the canvas K. Bryullov, who lived the streets live ancient City, even under the layer of petrified ash, remaining as they were before the eruption. The artist has collected materials for a long time, several times visited Pompei, examined at home, went through the streets, made sketches of prints of people who died under the layer of hot ash. Many figures are depicted in the picture in those most poses - a mother with children, a woman who fell from the chariot and a young couple.

The work was written 3 years - from 1830 to 1833. The master is so imbued with the tragedy of the human civilization that it was taken out of the workshop several times in a semi-sensulable condition.

What is interesting is the topics of destruction and human self-sacrifice related in the picture. First moment you will see in the fire that covers the city, falling statues, whisching a horse and a killed woman who fell from the chariot. Contrast is achieved by the running towns, which there is no case before it.

It is noteworthy that the master depicted not the crowd in the usual understanding of this word, but people, each of whom tells his story.

Mother pressed their children who do not quite understand what is happening, want to hide them from this catastrophe. Sons, who are in the arms of their father, insanely looking into the sky and covering his eyes from the ashes, try to save his price of their lives. The young man holding his dead bride on his hands, as if she did not believe that she was no longer alive. The distraught horse, who tries to throw off her rider, as if he transmits that Nature did not spare anyone. Christian shepherd in red clothes that does not produce from the hands of Cadyl, fearlessly and terrificly calmly looks at the falling statues pagan govAs if he sees in this God's kara. Amazes the image of the priest, who, grabbing a gold cup and artifacts from the temple, leaves the city, cowardly looking around. Faces of people in most beautiful and reflect not horror, but calm.

One of them in the background is a self-portrait of the Bullov himself. He presses to himself the most faithful - drawer with paints. Pay attention to his view, there is no death fear in it, there is only admiration for the spectacle. The master asleep was stopped and remembered a deadly moment.

What is noteworthy, there is no main character on the canvas, there is only a world, separated by elements into two parts. Characters Dissolve on the advancement, opening the doors to volcanic hell, and a young woman in a gold dress lying on the ground - the death symbol of the sophisticated culture of Pompeii.

Brullov knew how to work lightly, modeling volumetric and lively images. Important role Clothing and drapery play here. The robes are depicted in saturated colors - red, orange, green, ohlar colors, blue and blue. Contrasts with them the dead-pale skin, which lights the glow of lightning.

Continues the idea of \u200b\u200bdividing the picture light. He is no longer a way to transferring what is happening, but becomes the living hero of the "last day of Pompeii". Lightning flare up yellow, even lemon, cold color, turning citizens alive marble statues, and the bloody-red lava flow covers a peaceful paradise. The volcano glow shall holds panorama of the dying city in the background of the painting. Black dust clouds, of which no saving rain befall, and a destructive ash, they say that no one can be saved. The dominant color in the picture is red. And this is not the cheerful color that is designed to give life. Brullovsky Red - bloody, as if reflecting the biblical Armageddon. Clothing of heroes, the background of the painting as if merged with the glow of the volcano. Lightning outbreaks light only foreground.

Medieval Christians considered Vesuvius the shortest road to hell. And no wonder: from his eruptions more than once the people and cities. But the most famous eruption of Vesuvia happened on August 24, 79 of our era, destroying blooming city Pompeii, located at the foot of the volcano. For more than one and a half thousand years, Pompeii remained buried under the layer of volcanic lava and ash. For the first time, the city was discovered quite by chance at the end of the XVI century in the production of earthworks.

Karl Brullov (1799-1852)
The last day of Pompeii
canvas oil 456 x 651 cm

Archaeological excavations began here in mid XVIII century. They were of particular interest not only in Italy, but also around the world. Many travelers sought to visit the pompes, where literally at every step were evidence of a suddenly broken life of an ancient city.

Karl Brullov (1799-1852)

1830-1833, State Russian Museum, St. Petersburg

In 1827, a young Russian artist Karl Brullov arrives in Pompeii. Going to Pompeii, Bryullov did not know that this trip will lead it to the top of creativity. Pompei's spectacle stole him. He proceeded all the catches of the city, tagged to the walls, roughly from the boiled lava, and, perhaps, he had an idea to write a picture about the last day of Pompeii.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Ludwig Van Beethoven * Symphony number 5 - SI Minor *

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

From the design of the picture before its completion will be held long six years. Begins Brulylov with learning historical sources. He reads the letters of a witness of the events of Plinia Jr. to the Roman historian Tacitis. In search of reliability, the artist addresses to the materials archaeological excavations, Some figures he will be depicted in those poses, in which the skeletons of Vesuvius's victims were found in the solidified lava.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Almost all items are written by Bruner from the genuine things stored in the Neapolitan Museum. The preserved drawings, etudes and sketches show how hard the artist was looking for the most expressive composition. And even when the sketch of the future canvase was ready, Bullels about a dozen times regroupes the scene, changes gestures, movements, poses.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

In 1830, the artist began work on Great Canvas. He wrote at this limit of spiritual tension, which happened, he was literally handed over to his arms from the workshop. Finally, by mid 1833, the picture was ready. The canvas exhibited in Rome, where he received enthusiastic feedback critics, and was transferred to the Paris Louvre. This work was the first picture of the artist, which caused such interest abroad. Walter Scott called the picture "Unusual, Epic".

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

... Black gloom Navis above the ground. The bloody-red glow color the sky at the horizon, and the dazzling outbreak of lightning for a moment breaks the darkness.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Before the face of death is exposed to the essence human soul. Here the young Pliny persuades the mother, fallen to the ground, collect the remnants of the forces and try to escape.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Here the sons carry on the shoulders of the old man's father, seeking to make a precious wear in a safe place as soon as possible. Raising your hand towards the swearing heavens, the man is ready to protect his loved ones.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Nearby - a crankshake mother with children. What kind of incomprehensible tenderness they pumped together to each other! Above them - a Christian Shepherd with a cross on the neck, with a torch and cench in his hands. With a calm fearlessness, he looks at the flaming heavens and the crumbling statues of the former gods.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

On the canvas, Julia Pavlovna Samoilova is also depicted three times - a woman with a jug on his head, standing on the elevation in the left side of the canvas; A woman who broke to death, spread on the pavement, and next to her a living child (both, presumably threw out of a broken chariot) - in the center of the canvas; And the mother, attracting daughters, in the left corner of the picture.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

And in the depths of the canvas, he is opposed to a pagan priest, running in fear with an altar under his arm. Such a slightly naive allegory proclaims the advantages. christian religion Over the outgoing pagan.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

On the left in the second plan - the crowd of fugitives on the steps of the tomb of the scow. In it we notice the artist, saving the most expensive - a box with brushes and paints. This is a self-portrait of Karl Bryullov.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

The most central figure of the canvas is a noble woman who fell from the chariot, symbolizes the beautiful, but already outgoing antique world. The mourning of her baby is an allegory of a new world, a symbol of the life of life. "Last Day Pompei" convinces that home value In the world is a person. Detrimental forces The nature of Bullov opposes the spiritual greatness and beauty of a person. Educated on aesthetics of classicism, the artist seeks to give his heroes perfect traits and plastic perfection, though, it is known that residents of Rome posed for many of them.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

In the fall of 1833, the picture appeared at the exhibition in Milan and caused an explosion of delight and worship. An even greater triumph was expecting Bryullov in his homeland. Exhibited in the Hermitage, and then at the Academy of Arts, the picture became the subject of patriotic pride. Her enthusiastically welcomed A.S. Pushkin:

Vesuvius Zev opened - smoke poured the club - Flame
Widely developed as a combat banner.
The Earth is worried - with a shitful columns
Idols fall! People persecuted by fear
Crowds, old and young, under inflamed rush,
Under the stone rain runs out of the grade.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Really, world Glory The Bhorrylovsky picture forever destroyed a dismissive attitude towards Russian artists, which existed even in Russia itself.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

In the eyes of contemporaries, the work of Karl Bryullov was proof of the identity of the national artistic genius. Bryullov compared with great italian masters. Poets devoted poems to him. He was welcomed by applause on the street and in the theater. A year later, the French Academy of Arts awarded the artist for the picture gold medal After her participation in the Paris Salon.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

The situation is exposed by the characters. Thoughtful sons bring out of the gentle father from hell. Mother covers children. Desperate young man, gathering last forces, does not produce precious cargo from the hands - the bride. And the handsome man in a white horse hurries away alone: \u200b\u200brather, it is more likely to save yourself, a loved one. Vesuvius mercilessly demonstrates to people not only their subsidiary, but also their own. Thirty-year-old Karl Bromlov understood it perfectly. And showed us.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

"And there was the" Last Day Pompeii "for the Russian Brush First Day," the poet Evgeny Bratsynsky. Trulya: the picture is triumphantly met in Rome, where he wrote it, and then in Russia, and Sir Walter Scott somewhat highly called the picture "unusual, epic".

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

And there was a success. And paintings and masters. And in the fall of 1833 the picture appeared at the exhibition in Milan and Triumph Carl Bullov reached his higher Point. The name of the Russian master immediately became famous on the entire Italy Peninsula - from one end to another.

Karl Brullov (1799-1852)
Last Day Pompeii (Detail)
1830-1833, State Russian Museum, St. Petersburg

In Italian newspapers and magazines enthusiastic reviews were printed about " Last day Pompeii "and his author. Bryullov was welcomed by applause on the street, arranged ovations in the theater. The poets were dedicated to him. At the time of movements, it was not necessary to present a passport from him - it was believed that every Italian was obliged to know him in his face.