L. Osipova

Alexander Bryullov. Self-portrait. 1830.

- Karl, you just imagine - eighteen centuries ago everything was the same: the sun was blinded, the hotels of drinking on the edges of the road and the donkeys, loaded by the swing, stumbled about the stones. We are on the main road leading to Pompeiu. These are these ruins - the country house is rich in Diomeda, excavations are still being conducted here, then - Cicero Villa. Further hotel, here found a lot of clay dishes, marble mortars, on the stone board the trace as if only spilled liquid, and in basements - wheat grains. If they are wiping and baked, it would be possible to try the most classic bread, which in our romantic era, I think would struck many of my taste. Ba, and it does not seem to you that everything is very revived. Crowds of people rushing to the city. Here they carry on the stretchers of some important Mr. It is in the tunic of dazzling whiteness, hammered on the shoulder with a golden buckle, in sandals to the knees, decorated with diamonds, and behind him a whole tuple of servants. Do you hear the shouts of the mobile? Chariots appeared, but it is so difficult for them to move, the narrow streets are all protected by people. Everything is clear - everyone is in a hurry to the amphitheater. Today, the battles of gladiators with wild beasts are appointed. Or maybe the judges sentenced someone from the perpetrators to finish life in the arena in a fight with the lions just brought from Africa? Oh, of course, such a spectacle can not miss Nobody from Pompeyan.

Karl Bromlov. Self-portrait. OK. 1833.

- Up, your imagination begins to bite! Togo and looked by these convicts. We ourselves. - Broullov's brothers laugh and, sitting on a roadside stone, plunge into silence, disturbed only by rustling of lizards and rustling herbs ...
Alexander rises and, finding a comfortable place on the dilapidated steps, opens a big album and starts drawing. A little time to him joins him and Karl. But they draw in different ways. Alexander as an architect is interested in the ratio of parts, the proportions that Pompei's builders adopted in the Greeks. He even runs up to Karl, asking him to pay attention to this simplicity and grace of lines combined with wealth and even the sophistication of jewelry - the capitals of the columns are in the form of faded dolphins, then these are groups of Favs, one of whom teaches another The interweaving of fantastic fruits and leaves ... sophistication, an excess of imagination is already a phenomenon of the new time, the influence of Rome. And so at Pompeyan in everything: in the richest houses, all rooms, even the feast rooms, in the Greek sample are very small - because the number of guests must correspond to the number of graces (three) or the number of music (nine). Meanwhile, it is known that the moderation in the food and pleasures of Pompey was not famous. On the contrary. File parts of the African Lion were served here, smoked camel feet, foxes, fastened with grapes, aromatic rabbits, sauce from ostrich brains, earthy spiders, not to mention wines with ice swelled with aromatic herbs ... no, our imagination is powerless all this Imagine ... Yes, Greece and Rome met in Pompei so that after the Vesuvius eruption in August 79, after the Nativity of Christ, to be for many centuries buried ashes and stones ...
Carl listens to his brother quickly. He pits the album with a pencil sketch, sorry that he did not capture the paints. He is already in the power of live beauty, he enjoys.
How amazing the effect of light, shrill and soft! And the expansion of marble - the Oka leaves the impression of tenderness. Torso Venus, Athlete Statue, recently dangled, purified from the ground, seem more authentic, natural than living people, are the best people. So he is this world, which he began to comprehend from childhood.
Father Paul Ivanovich Bullov, academician sculpture ornamental, forced children to draw with antics, as soon as they learned to keep a pencil in their hands. Ten years old Carl was adopted in the pupils of the St. Petersburg Academy of Arts, in fourteen received a silver medal for the drawing, in which, according to the general assurance, revived the times of the fidia and the policlet. In the dead world of marble, he felt his own, because all the creature felt the laws for which this world was created. Oh, how he believed in his strength! Coverage all objects, put in harmony, turn all the feelings of the viewer in a calm and endless pleasure of beauty. Create art that would penetrate everywhere: the poor man's hut, under the marble columns, on the square, boiling by the people, - as it was in this city, as it was in the distant bright Greece ...
...Several years have passed. Alexander went to Paris to improve his knowledge and talent. He had another intention, which he soon did happily. He published a book on excavations in Pompei - on luxurious paper, with its own drawings and drawings. The advantages of the book were assessed so large that after the short time the author was elected by a member of the Royal Institute of Architecture in London, a member of the Milan Academy of Arts. Alexander did not revel out so much, how much he was happy - he finally had something to report to the society of encouraging artists, which seven years ago, in 1822, sent them to his brother abroad after the end of the arts of the St. Petersburg Academy of Arts. But Karl ... My God, what only rumors did not come here about him from Rome! He managed to hear a wonderful portrait, and every visitors in Italy eminent Russian Barin hurried to order him his portrait. But trouble, if this man began to inspire Karl antipathy. He could take him (so it was with the Eaglov-Davydov graph) in the most careless costume and the most negligent pose and calmly declare that today he is not located to work. Scandal!..


One of the sketches of the painting "Last Day Pompeii".

However, Alexander came to the news that recently Karl makes sketches to a large canvase, which involves calling the "Last Day Pompeii". It so pleased him that he immediately sat for a letter in which headally asked if a brother was going to use historical sources or it would be the fruit of his free imagination; Does he consider that the death of Pompeii was predetermined over: Pompiyan was mocked in luxury and entertainment, lightly neglecting all signs and predictions, languages \u200b\u200bin the first Christian prison; where he suggests the picture of the picture; And most importantly - let, for the sake of God, is not distracted by the Great Work, which may be destined to appear before the whole world of genius.
The letter of his brother caught Karl in the evil minute. He has already moved from the sketches to the canvas. It was huge sizes - 29 square meters. He worked with a mop, almost without breaks, reached completely exhausted, so it was often endured from the workshop. And then the owner appeared to pay the bills ...
Of course, everyone is already doubted that he is able to create something worthwhile. The society of the promotion of artists has not been paying his pension for the second year. Only and shimmer around his frivolous and careless moral. But the brother should know that if he works on passion, then at least a sabotage on him put on him, he will not cease to work.

K. P. Bullelov "Last Day Pompeii", 1830-1833. State Russian Museum, St. Petersburg.

For feather and ink, Carl took in extreme cases. And then I decided: I will write now - and brothers (Brother Fedor, also an artist, lived in St. Petersburg), and to the Society of Promotion. "Decoration ... I took all from nature, not retreating at all and not adding, standing to the city gate back to see the part of Vesuvia as the main reason, - without which it seems to be a fire? On the right side I put the mother groups with two Daughters on the knees (skeletons of this were found in this position); from behind this group is visible to the groups on the stairs ... covering the heads with stools, vases (they saved everything they are taken from the museum). Near this group - a running family, thinking to find shelter In the city: Husband, closing himself and his wife, holding a breast child, covering the other hand of the eldest son lying at the feet of his father; In the middle of the painting a fallen woman, devoid of feelings; Baby on her chest, not supported by a mother's hand, grabbed her clothes , calmly looks at the living scene of death ... "
Dozens of sketches and sketches, a few years of exhausting labor. No, not the horror of the doom, it was not the proximity of death he wrote. "Passion, feelings are faithful, the fiery are expressed on such a beautiful look, in such a beautiful person that you enjoy before you do," said Gogol, seeing the picture. The death of the world of sensually beautiful, irrevocable. Yes, Glory came to the artist. Triumph accompanied the appearance of it on the streets, in the theater. In St. Petersburg, he posted a wreath of laurels on his head, in journals they wrote that his works are the first, which can understand the artist who has the highest development of taste, and does not know what art is.
Well, Bryullov treated glory as proper, as a burden, not at all burdensome. He laughed carelessly when Alexander, hugging him with tears, stirred, what he did for Pompeii more than any archaeologist or scientist ...

The Russian artist Karl Bryullov was undoubtedly quite respect for his skill long before the creation of this masterpiece. Nevertheless, it was the "Last Day of Pompeii" brought Bullyov without exaggerating world famous. Why did the catastrophe influence such an impact on the public, and what secrets does she hide from the audience so far?

Why exactly Pompeii?

At the end of August, 79 of our era, as a result of the eruption of the Vesuvius volcano of the city of Pompeii, Herculaneum, Stabies and many small villages became graves for several thousand local residents. The real archaeological excavations of the localities of the localities began only in 1748, that is, 51 before the birth of Karl Bryullov himself. It is clear that archaeologists worked not one day, but several decades. Thanks to this circumstance, the artist managed to personally visit the excavations and wander through the ancient Roman streets already freed from the frozen lava. Moreover, at that moment, Pompeii was most cleared.

Together with Bryllov, the Countess Yulia Samoilova, to which Karl Pavlovich fell warm feelings. Later she will play in the creation of a masterpiece of the lover a huge role and not one. Bullelov and Samoilov had the opportunity to see the buildings of an ancient city, renovated household items, the remains of the dead people. All this left a deep and bright imprint on the fine art of the artist. It was in 1827.

Disappearance of characters

The impressed by Bryulls almost immediately took up work, and, very seriously and thoroughly. He visited the surroundings of Vesuvia not once, making sketches for the future of the canvas. In addition, the artist got acquainted with the mainuscripts that came to this day, including with letters of eyewitness of the catastrophe, ancient Roman politician and writer Plinia Jr., whose uncle whose stones senior died during an eruption. Of course, such a job required a lot of time. Therefore, preparation for writing a masterpiece took more than 5 years old. The same canvas, over 30 square meters, he created less than a year. From exhaustion, the artist sometimes could not go, it was literally endured from the workshop. But even with such a thorough preparation and hard work on the masterpiece of Bryullov, it also changed the initial intent in one way or another. For example, he did not use the sketch, on which the thief was painted, shot decorations with a fallen woman.

Same faces

One of the main mysteries that can be found on the canvas is the presence of several identical female pictures. This is a girl with a jug on his head, a woman lying on the ground with a child, as well as a mother, hugging her daughters, and a person with her husband and children. Why did Brullov painted them as similar? The fact is that the in kind for all these characters was the same lady - the same Council of Samoilov. Despite the fact that the artist painted other people in the picture from ordinary people of Italy, apparently, Samoyallov Bulletov, covered by certain feelings, simply liked to write.

In addition, in the crowd shown on the canvas, you can find the painter itself. He portrayed himself to whom he was, an artist with a drawer, filled with drawing accessories, on his head. This method, like a kind of autograph, used many Italian masters. And Bullov spent many years in Italy and it was there who studied the art of painting.

Christian and pagan

Among the characters of the masterpiece there is a supporter of the Christian faith, which is easy to find out on the cross on the chest. A mother with two daughters is hugged to him, as if looking for an old man's protection. However, he painted the Bullels and the pagan priest, which rapidly runs away, without paying any attention to frightened citizens. Undoubtedly, Christianity at that time was subjected to persecution and is unknown, if any of the adherents of this faith could be then in the pompes. But Brulylov, trying to stick to the documentary reliability of the events, contributed to his work and hidden meaning. Through the above-mentioned clergymen, he showed not only the cataclysm himself, but the disappearance of the old and birth of the new one.

Publications of the Museums section

Ancient Roman tragedy, who has become Triumph Carl Bryullov

On December 23, 1799, Karl Brullov was born. The son of the sculptor of the French origin of the Bullet Field, Karl was one of the seven children in the family. His brothers Paul, Ivan and Fedor also became painters, and Brother Alexander - Architect. However, the most famous was Karl, who wrote the cloth "Last Day Pompeii" in 1833 - the main work of his life. "Culture.rf" remembered how it was created by the canvas.

Karl Bromlov. Self-portrait. 1836.

History of creation

The picture was written in Italy, where in 1822 the artist went to a pensioner trip from the Imperial Academy of Arts for four years. But he lived there for 13 years.

The plot tells about the ancient Roman tragedy - the death of the ancient city of Pompeii, located at the foot of Vesuvia: August 24, 79 n. e. The eruption of the volcano took the lives of two thousand inhabitants.

In 1748, the Military Engineer Rockke de Alcubierre began archaeological excavations at the place of the tragedy. Opening Pompeii became a sensation and reflected in the work of different people. So, in 1825, the opera Giovanni Pacini appeared, and in 1834 - the historic Roman of the Englishman Edward Bullver-Litton, dedicated to the death of Pompeii.

Brullov first visited the site of excavations in 1827. Going to the ruins, a 28-year-old artist and did not suspect that this trip would be a fateful for him: "You can not pass these ruins, without feeling in yourself some completely new feeling, forcing everything to forget, except the terrible incident with the SIM city", "the artist wrote.

The feelings that Karl Brullov experienced on the excavations did not leave him. So the idea of \u200b\u200bthe canvas on the historical theme was born. Working on the plot, the painter studied archaeological and literary sources. "I took this scenery from nature, not retreating at all and not adding, standing to the city gate back to see the part of Vesuvia as the main reason.". Italians became models for characters - descendants of the ancient residents of Pompeii.

At the junction of classicism and romanticism

In this work, Bryullov is not a traditional classicist, but an artist of the romantic direction. So, his historical plot is devoted not to one hero, but the tragedies of the whole people. And as a plot, he chose not an idealized image or an idea, but a real historical fact.

True, the composition of the Broullov painting builds in the traditions of classicism - as a cycle of individual episodes enclosed in a triangle.

In the left part of the painting on the second plan, several people are depicted on the steps of a large building of the tomb of the scow. A woman looks straight on the viewer, in which horror is read in the eyes. And behind it - an artist with a drawer of paints on the head: This is a self-portrait of the bullov, who worries the tragedy along with his characters.

Closer to the viewer - a married couple with children, which is trying to escape from the lava, and in the foreground the woman presses his daughters ... Next to her - the Christian priest who has already reserved his fate and because of calm. In the depths of the picture, we see the pagan Roman priest who is trying to escape, carrying ritual values. Here, Bryullov hints at the fall of the ancient pagan world of Romans and the offensive of the Christian era.

In the right side of the painting on the second plan, the rider is depicted on a horse, which stood on the rap. And closer to the viewer - the groom embraced by horror, which is trying to keep his bride on her hands (on it a wreath of roses), who lost consciousness. In the foreground - two sons carry their old man's father in her arms. And next to them - the young man, pleading his mother to rise and run further from this all-consuming element. By the way, this young man is not anyone else, like Pliny younger, really saved and left his memories of the tragedy. Here is an excerpt from his letter Tacitis: "I look back. Thick black fog, flowing around the ground, overtook us. There was a night, unlike the moonless or cloud: it happens so dark only in the locomotive room during the extinguished lights. Women's screams were heard, a children's squeak and a cry of men, some dangle their parents, other children or wives and tried to know them in votes. Some mourned their death, other death of loved ones, some in fear before death prayed for death; Many have gone hands to the gods; Most explained that nowhere and no gods and for the world is the last eternal night ".

There is no main character in the picture, but there are central: a cereal child near the open body of his deceased mother in a yellow tunic - a symbol of the fall of the old world and the birth of a new one, this opposition of life and death is in the best traditions of romanticism.

In this picture, Bryullov showed himself and as an innovator, using two light sources - hot red light in the background, transmitting the sensation of the impending lava, and a cold greenish-blue in the foreground, adding the plot of additional playwright.

A bright and saturated flavor of this painting also violates the classic traditions and allows you to talk about the artist as a romance.

Triumphal march pattern

Karl Bryullov worked on the web for six years - from 1827 to 1833.

For the first time, the picture was represented by the public in 1833 at the exhibition in Milan - and immediately produced Furore. The artist was honored as the Roman triumphant, a laudatory reviews in the press wrote about the picture. Bryullov was celebrated on the street with applause, and during his movements at the borders of the Italian principalities did not require passports: it was believed that every Italian already knows him in his face.

In 1834, the "Last Day Pompei" was presented at the Paris Salon. French criticism was not an example Italian deserving. But the professionals appreciated the work on dignity, handing the Gold Medal of the French Academy of Arts by Bullylov.

The canvas made a sensation in Europe, and he was looking forward to him in Russia. In the same year it was sent to St. Petersburg. Seeing the picture, Nikolai I expressed a desire to personally meet the author, but the artist went with the Graph Vladimir Davydov on a trip to Greece, and returned to his homeland only in December 1835.

On June 11, 1836, in the circular hall of the Russian Academy of Arts, where the painting "Last Day Pompeii" was exhibited, honored guests, members of the academy, artists and just fans of painting were gathered. The author of the canvas, "Veliky Karla", brought to the hall on their hands under the enthusiastic cries of guests. "Crowds of visitors, you can say, broke into the halls of the Academy to look at the" Pompei ", "the contemporary writes and the witness of that success equal to which no Russian artist knew.

The customer and the owner of the painting Anatoly Demidov presented it to the emperor, and Nikolai I placed her in the Hermitage, where she was located for 60 years. And in 1897 was translated into the Russian Museum.

The picture literally agreed on all Russian society and the best minds of that time.

Art peaceful trophies
You contributed to the deceo model.
And was the "last day Pompeii",
For Russian brush first day! -

posted about the picture Poet Yevgeny Bratansky.

Alexander Pushkin also devoted poems to her:

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

Mention "Last Day Pompeii" and Mikhail Lermontov in the novel "Princess Ligovskaya": "If you love art, then I can say a very pleasant news: the picture of the bullov" Last Day Pompeii "rides in St. Petersburg. I knew all Italy about her, the French were crushed "- Lermontov clearly knew about the reviews of the Paris Press.

Russian historian and traveler Alexander Turgenev said that this picture was the glory of Russia and Italy.

And Nikolay Gogol devoted a big article by writing: "A brush holds it in itself the poetry that you just feel and you can always know: our feelings always know and see even distinctive signs, but they will never tell their words. Coloring him so apart, which has never been almost never before, his paints are burning and droopy. They would be unbearable, if the artist had a degree below the bryullov, but he was leaning in that harmony and breathe in the internally music, which were performed by living objects of nature ".

Karl Bromlov. The last day of Pompeii. 1833 G. State Russian Museum

The phrase "Pompei's Day" is known to everyone. Because the death of this ancient city once depicted Karl Brullov (1799-1852)

Yes, so that the artist survived an incredible triumph. First in Europe. After all, he wrote a picture in Rome. The Italians crowded his hotel to have the honor to greet the genius. Walter Scott sat for a few hours, amazed to the depths of the soul.

And what was happening in Russia, and it is difficult to submit. After all, Bryullov created such that he raised the prestige of Russian painting immediately to the unprecedented height!

People crowded to look at the picture and the day, and at night. Brullov was awarded personal audience from Nikolai I. It was firmly fixed by the nickname "Karl Great".

Daily criticized "Pompeii" only Alexander Benoit, a famous historian of art 19-20 centuries. And it criticized it very viciously: "Effective ... Painting in the calculation of all tastes ... Theatrical crocity ... Cracking effects ..."

So what struck the majority and so annoyed Beno'a? Let's try to figure out.

From where the brillov took the plot

In 1828, young Bryullov lived and worked in Rome. Shortly before that, archaeologists began excavating three dead under the ashes of Vesuviya cities. Yes, yes, there were three of them. Pompeii, Herculane and Staby.

For Europe, it was an incredible discovery. After all, before that, about the life of ancient Romans knew about fragmentary written testimonies. And here the whole 3 cities, canned for the 18th centuries! With all the houses, frescoes, temples and public toilets.

Of course, Brylov could not pass by such an event. And went to the site of excavations. By that time, Pompeii were cleared best. The artist was so amazed seen that he almost immediately began to work.

He worked very conscientiously. 5 years. Most of the time he left the collection of materials, sketches. The work itself took 9 months.

Brooklov-Documental

Despite all the "theatricalness", which Benoit says, in the picture of Bryrukov a lot of truth.

The place of action was not invented by the master. Such a street at the Herculant gate actually is in the pompes. And the ruins of the temple with the stairs are still standing there.

And another artist personally studied the remains of the dead. And part of the heroes he found in the pompes. For example, the deceased woman embracing two daughters.

Karl Bromlov. The last day of Pompeii. Fragment (mother with daughters). 1833 G. State Russian Museum

On one of the streets were found wheels from the wagon, scattered decorations. So, Bryullov had an idea to portray the death of noble poisoning.

She tried to escape on the chariot, but the underground push knocked out of the pavement cobblestone, and the wheel hit him. Bromlov depicts the most tragic moment. The woman fell out of the chariot and died. And her baby, survived after the fall, crying the body of the mother.

Karl Bromlov. The last day of Pompeii. Fragment (killed noble woman). 1833 G. State Russian Museum

Among the detected skeletons, Brullov saw a pagan priest, who tried to carry his wealth with him.

On the canvas, he showed him firmly pressing attributes for pagan rituals. They consist of precious metals, so the priest grabbed them with them. It looks not in a very favorable light compared to the Christian clergyman.

We can determine it on the cross on the chest. He is wriggle to the angry Vesuviy. If you look at them together, it is clear that Brullov specially opposes Christianity to paganism is not in favor of the latter.

"Right" rushing and buildings in the picture. Volcanologists argue that Bromlov depicted an earthquake in 8 points. And very reliably. This is how the structures fall apart with underground shocks of such strength.

Very thought out of the brying and lighting. Lava Vesuvia so brightly illuminates the back background, so saturates in red buildings, which seems that they are burning.

At the same time, the front plan is lit by white light from flash lightning. This contrast makes the space especially deep. And plausible at the same time.

Karl Bromlov. The last day of Pompeii. Fragment (lighting, contrast of red and white light). 1833 G. State Russian Museum

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BULLOV-THEATER STRUCTOR

But in the image of people the truth ends. Here, Bryullov, of course, far from realism.

What would we see if Brullov be more realistic? There would be chaos and pussy.

We would not have the opportunity to consider every hero. We would have seen them with worries: legs, hands, alone lying on others. They would have been pretty soothed in soot and mud. And the faces would be distorted by horror.

And what do we see from the brying? Heroes groups are located so that we see each of them. Even in the face of death, they are divinely beautiful.

Someone spectacular holds the horses on the pillands. Someone gracefully covers the head of dishes. Someone beautifully holds a loved one.

Yes, they are beautiful, as if gods. Even when their eyes are full of tears from the awareness of the ambulance.

But not all of the extent of Bullov idealizes. We see how one character is trying to catch falling coins. Starting petty even at such a moment.

Karl Bromlov. The last day of Pompeii. Fragment (picking coins). 1833 G. State Russian Museum

Yes, this is theatrical performance. This is a catastrophe, as aesthetic as possible. In this Benua was right. But after all, only thanks to this theatricality, we do not turn into horror.

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

It is rather a beautiful legend than harsh reality. It is fascinating perfectly. As if blasphemously it did not sound.

Personal in the "last day Pompeii"

In the picture you can see the personal experiences of the bullov. It can be noted that all the basic heroines of the canvas have one person.

In different ages, with different expressions, but this is the same woman - the Countess Julia Samoilova, the love of the life of the painter of Bryullov.

Karl Bromlov. Countess Samoilova, removing from the ball at the Persian Messenger (with the admission of amazilia). 1842 State Russian Museum

They met in Italy. Even together examined the ruins of Pompey. And then their novel pulled out with breaks for long 16 years. From the relationship were free, that is, he, and she allowed themselves to be carried away by others.

Bullel even managed to marry. The truth quickly divorced, literally after 2 months. Only after the wedding, he learned the terrible secret of his new wife. Her lover was his own father who wished to remain in this status continue.

After such a shock, only Samoilova comforted the artist.

They broke up forever in 1845, when Samoilova decided to marry a very beautiful opera singer. Her family happiness also lasted long. Literally a year later, her spouse died of a consumers.

Samoilova married for the third time only with the aim of regaining the title of the Countess, which she lost because of marriage with a singer. All life paid great content to her husband, without living with him. Therefore, it died almost in full beggar.

Of the really existing people on the canvas, you can still see the Bullov himself. Also as an artist who covers his head with a drawer with brushes and paints.

Karl Bromlov. The last day of Pompeii. Fragment (self-portrait of the artist). 1833 G. State Russian Museum

Summarize. Why "Last Day Pompeii" - masterpiece

"Last Day Pompeii" is monumental in all respects. A huge cloth - 3 by 6 meters. Tens of characters. Many details for which you can explore the ancient Roman culture.

"Last Day Pompeii" is a story about a catastrophe, told very beautiful and effectively. Heroes played their roles selflessly. Special effects - at the highest level. The light is phenomenal. This is theater, but a very professional theater.

In Russian painting no one else could write a catastrophe so much. In Western painting "Pompeii" can be compared only with the "raft of jellyfish" Zhriko.

Theodore Zheriko. Raft jellyfish. 1793

In Italy, the grand canvas of the great painter of Bhorlov - "Last Day Pompeii" wrote. Description of the picture will be presented in our article. Contemporaries gave work the most enthusiastic reviews, and the artist himself began to call Great Carl.

A little about K. I. Bryullov

The painter was born in 1799 in the family, which, starting with the great-grandfather, was associated with art. Having finished the Academy of Arts with a Gold Medal, he, together with Brother Alexander, Darovyt architect, goes to Rome. In the eternal city, he works fruitfully, writes portraits and paintings that admire the public, critics and venance. For six years over the monumental dense worked by Karl Brullov. "Last Day Pompeii" (Description of the painting and its perception Italians can be expressed in one word - the triumph) became a masterpiece for residents of the country. They believed that the artist's canvas causes thoughts about the heroic past of their homeland at a time when the whole country is covered by the struggle for freedom.

Historical facts

Description of the painting of the bullov "Last Day Pompeii" should be started with an interesting fact: the master visited the excavation under Vesuviye in 1827. This spectacle is simply stolen. It was clear that life was interrupted in the city suddenly.

There were fresh ruts on the pavement, bright paints of the inscriptions, which were notified of the delivery of premises for rent and about the upcoming entertainment. In taverns, where only sellers lacked, traces of cups and cups remained on the tables.

Beginning of work

Description of the painting of the bullov "Last Day Pompei" we begin with a story about the many years of preparatory work of the artist, which was three years. At first, a composite sketch was made on a fresh impression.

After that, the artist began to study historical documents. The artist found the information they needed in the letters of a witness of this natural disaster and the famous Roman historian of Tacitis. They described the day, covered by the Molten, the crowds of swollen people who do not know where they run, screams, moans ... Someone mourned her inevitable death, others - the death of loved ones. Over fantastic figures - a dark sky with zigzags lightning. In addition, the artist created all new and new sketches, wrote various groups of people, changed the composition. This is a preliminary description of the painting of the bullov "Last Day Pompeii". The place where the action takes place, it was clear for him immediately - the crossroads of the Tomb street. As soon as Bhorrylov presented to himself a rolling, heartbreaking thunder, he was visited by all the people froze ... A new feeling was gained to their fear - the inevitability of the tragedy. This affected the last composition of the artist and makes up the description of the painting of the bullov "Last Day Pompeii". Materials of archaeological excavations gave the artist's household items for his canvas. The voids that were formed in the lava retained the contours of some tel: the woman fell from the chariot, here's a daughter and mother, here are young spouses. In Pliny, the artist borrowed the image of a mother and a young man.

Selfless work

For three years, work was carried out on a huge cloth. Rafael had a huge impact on a composite and plastic solution, on the characteristics and description of the painting of the bullov "Last Day Pompeii". The artist earlier he studied, copying the frescoes "Fire in Borgo" and "Athenian school", where there are about forty characters. The same heroes are shown on the Brullov Multifiguric Line? It was very important in working on the picture to introduce their contemporaries into it, brings closer to the distant epochs. This appeared on the canvas, the portrait of the Marini athlete - the Father's figure in the family group.

Under the brush of the artist, an image of his favorite model arises in the form of a girl, then in the form of a mother. Yu. Samoilova was the embodiment of his ideal, which grew up with the power and passion of beauty. Her image filled the imagination of the artist, and all women on his canvase acquired the devil to the master.

Composition painting: a combination of romanticism and classicism

Romanticism and the classics boldly connect on the Brullin's canvas ("Last Day Pompeii"). Description of the picture briefly can be characterized in such a way that in the composition the master did not strive to conclude everything into classic triangles. In addition, listening to the voice of romanticism, he portrayed a mass folk scene, violating the classic principle of bas-relief. The action develops, flowing into the canvas in: from the chariot, a man fell, who is fascinated by frightened horses. View of the viewer involuntarily rushes behind him in the Puchin, in the cycle of events.

But not from all impassive ideas of classicism left the painter. His heroes are beautiful outwardly and internally. The horror of their position is muffled by the perfect beauty of the characters. This is mitigated for the spectator the tragedy of their state. In addition, the composition is used to receive contrast between panic and tranquility.

Composition of action

In the canvas filled with motion, the rhythm of the gestures of the hands and movements of the tel is very important. Hands protect, defend, hug, with anger stretch to the sky and fall outlessly. Like sculptures of their form volume. They want to get around to consider steadily. The outline clearly covers each figure. This classic reception did not reject romance.

Coloring the web

Tragically gratf the day of the catastrophe. Darkness, absolutely impeding, hung over the disaster of people. These black smoke and ash clubs tear sharp bright zippers. The horizon floods the bloody red light of the fire. His chicks fall on the falling buildings and columns, on people - men, women, children - giving an even greater tragedy of the situation and showing the inevitable threat of death. Brullov seeks the naturalness of lighting, violating the requirements of classicism. It slightly catches the reflexes of light and connects them with distinct light.

Characters of canvas characters

Description and analysis of the painting of the bullov "Last Day Pompeii" will be incomplete, if not to consider all people acting in the picture. For them, the day of a terrible court came: stone monumental buildings rushed like paper, from underground jolts. Around the roar, shouts about help, plenty of the gods that abandoned the unfortunate. The essence of the human soul is completely naked before death. All groups that are in essence portrait are facing the viewer.

Right side

Among the nobility there are lowlands: a borehole thief who carries jewels in the hope that he will survive. The pagan priest, which runs away and trying to escape, forgetting that the gods should pray for mercy. Fear and confusion in the family composition, hiding the bedspread ... This is the description of the painting of the bullov "Last Day Pompeii". A photo of the masterpiece in the article shows in detail the young father rises in Moluba hand to the sky.

Children embracing mother knelt. They are stationary and just waiting for a terrible inevitable fate. To help them. A Christian with a naked breast and a cross believes in the future of Sunday.

Only one figure is calm - artist.

His task is to be above the fear of death and forever capture the tragedy. Brullov, introducing his portrait into the picture, shows the masters as a witness of the wrecking drama.

Central and left canvas

In the center - the broken tightly young mother, which hugs nothing does not understand the kid. This is a very tragic episode. The deceased symbolizes the death of ancient world.

The selfless sons carry a powerless old man. They are filled with love for him and do not think at all about their own salvation.

A young man persuades the mother who is sitting without his strength stand up and go to escape. Along it is difficult, but the nobility does not allow the young young man to leave the old woman.

A young guy is peering in the face of a tender bride, completely lost the power of the Spirit from the range of the roar, the type of deaths, the fiery glow, which they are thrusty.

He does not leave his beloved, although death can be caught up at any time.

The key picture in the history of art was destined to become a masterpiece "Last Day Pompeii" K. Bryullov. He caught the spirit of time and created a canvas about those who can sacrifice all sake of their loved ones. About ordinary people whose moral concepts are immeasurably high during brutal tests. The spectacle of how courageously they carry out the grave burden that fell on their share should serve as an example of how true love for man acts in any era and anywhere.