Last day Pompeii painting where the address is located. Picture "Last Day Pompeii": Description

Bryullov Karl Pavlovich (1799-1852). "The last day of Pompeii"

With the magic touch of his brush, painting historical, portrait, watercolor, promising, landscape, which he gave live samples in his paintings. The artist's brush barely had time to follow his fantasy, the images of virtues and defects were swallowed in the head, indifferent to one another, the whole historical events grow up to the most striking specific outlines.

Self-portrait. About 1833.

Karl Bhorryov was 28 years old when he conceived to write a grand painting "Last Day Pompeii". The occurrence of interest in this topic, the artist owes his older brother, architect Alexander Bullyov, who acquired him in detail with the excavations of 1824-1825. K. Bryullov himself was in Rome in these years, the fifth year of his pensioners in Italy expired. There was already several serious works that had a considerable success in the artistic environment, but none of them seemed to be the artist quite worthy of his talent. He felt that he had not justified hopes assigned to him.

"The last day of Pompeii"
1830-1833.
Canvas, oil. 456.5 x 651 cm
State Russian Museum

For a long time, Karl Bulleov has no longer gave the conviction that he can create a work more significant than those he did before. Conscious of his strength, he wanted to fulfill a large and complex picture and thus destroy the sense that began to walk in Rome. Especially annoyed him Cavalier Cammucini, who was considered the first Italian painter at that time. It was he who was distrust to the talent of the Russian artist and often said: "Well, this Russian painter is capable of small things. But a tremendous work but shoulder someone more larger!"

Others, too, although they recognized the big talent from Karl Bryullov, but noted that frivolity and scattered life would never give him to focus on a serious work. Increed by these conversations, Karl Bryullov constantly looking for a plot for a big picture that would glorify his name. Long he could not stop at either one of those who came to his mind. Finally he attacked the plot, which took possession of all his thoughts.

At this time, on the scenes of many Italian theaters, the Opera Pachchini "L" Ultimo Giorno Di Pompeia "was successful. There is no doubt that Karl Bryullov saw her and maybe even more than once. In addition, along with Velusa A.N. Demidov (His Majesty of the Russian Emperor and Cavalier of His Majesty of the Emperor of the Russian) He examined the destroyed Pompeii, knew what a strong impression was produced by these ruins, which preserved traces of ancient chariots; these houses, as if only newly abandoned by their owners; these public buildings and temples , amphitheaters, where as if gladiatorial battles ended yesterday; country tombs with names and titles of those whose ash has still been preserved in the surviving urns.

The circle as well as many centuries ago, lush green vegetation, covering the remnants of the unfortunate city. And over all this, the dark cone of Vesuvius rushes, slimmingly smoking on a friendly Lazorian sky. In the Pompes of Bullels, the ministers asked for all details, since a long time ago, which are superior to excavations.

Of course, the impressionable and susceptible soul of the artist responded to the Duma and feelings excited by the remnants of the ancient Italian city. In one of these moments in his consciousness, the thought flashed to present these scenes on a large canvas. This idea he said A.N. Demidov with such a heat that he promised to give funds to fulfill this plan and in advance to acquire a future picture of Karl Bryullov.

With love and burning, Karl Bryullov began to fulfill the paintings and had already made the original sketch soon. However, other classes distracted the artist from the Demidov order and for the deadline (end of 1830) the picture was not ready. Displeased with such circumstances, A.N. Demidov almost destroyed the conditions of the contract between them, and only the assurances of K. Bryullov, that he immediately accepted the work, corrected the whole thing.

Last day Pompeii1. 1827-1830

Last day Pompeii2. 1827-1830

The last day of Pompeii. 1828.

And indeed, he began working with such a diligence that in two years she finished a colossal cloth. The brilliant artist screamed his inspiration not only in the ruins of destroyed Pompeii, he was inspired by the classic prose of Plinia Jr., which described the eruption of Vesuvius in his letter to the Roman historian Tacitis.

In an effort to the greatest reliability of the image, Brulylov studied excavation materials and historical documents. Architectural structures in the picture were restored to them for the remnants of ancient monuments, household items and women's jewels are copied with exhibits located in the Naples Museum. Figures and heads of depicted people are written mainly from nature, from the residents of Rome. Numerous sketches of individual figures, entire groups and sketches of the picture show the author's desire to maximize psychological, plastic and colorful expressiveness.

Brullov built a picture as separate episodes, at first glance, not related to each other. Communication becomes clear only with simultaneous coverage of all groups, the whole picture.

Long before the end of Rome began to talk about the wondest work of the Russian artist. When his workshop doors on St. Claudia's street were wide open to the public and when then the picture was exhibited in Milan, the Italians came to indescribable delight. Karl Bullov's name immediately became famous on the entire Italian Peninsula - from one end to another. At meetings on the streets, everyone filmed a hat in front of him; When it appeared in theaters, everyone got up; At the door of the house where he lived, or the restaurants where he dined, always gathered a lot of people to greet him.

Italian newspapers and magazines glorified Karl Bryullov as a genius equal to the greatest painters of all time, the poets sang him in verses, entire treatises wrote about his new picture. The English writer V. Scott called the Epopea of \u200b\u200bPainting, and Cammucini (striding his former statements) hugged K. Bryullov and called him a colossus. With the era of the Renaissance, no artist was in Italy the object of such universal worship as Karl Bryullov.

He presented an astounded outstanding all the advantages of the impeccable artist, although it was long known that even the greatest painters did not owe equally by all perfections in their very happy combination. However, the drawing of K. Bryullov, illumination of the painting, its artistic style is completely inimitable. The painting "Last Day Pompeii" introduced Europe with a mighty Russian brush and Russian nature, which is capable of every field of art to achieve almost inaccessible heights.

What is shown in the picture of Karl Bryrylov?

Flaming Vesuviy, from the depths of which spread in all directions of the River Fire Lava. The light from them is so strong that the closest to the volcano of the building seems like burning. One French newspaper noted this picturesque effect that the artist wanted to reach, and pointed out: "The artist ordinary, of course, would not fail to use the eruption of Vesuviya to highlight his picture; but Mr. Bullels neglected the sim tool. Genius inspired him a bold thought, as Happy, as the inimitable: Light the whole front of the picture with a fast, minute and whitish gloss lightning, disperse a thick cloud of ash, facilitated the city, meanwhile, with the light of the eruption, hardly breaking through through deep darkness, snaps up to the back plan with a reddish half. "

Indeed, the main color gamma, which K. Brylov elected for his picture, was extremely bold for that time. It was a range of spectrum, built on blue, red and yellow colors, illuminated by white light. Green, pink, blue are found as intermediate tones.

Having decided to write a large canvas, K. Brylov chose one of the most difficult ways to compose, namely, the light-shadow and spatial. This required the artist to accurately calculate the effect of the picture at a distance and mathematically accurately determine the drop in light. And also to create the impression of deep space, he had to draw the most serious attention to the air perspective.

In the center of the canvas there is an open figure of a killed young woman, as if, it was Karl Brullov who wanted to symbolize the dying antique world (a hint of such interpretation was already in the reviews of contemporaries). This native family was removed on the chariot, hoped to escape hasty flight. But, alas, - Late: death fell on them on the path. Frightened horses shake the brars, the entrances are torn, the chariot axis is pretended, and the woman sitting in them turns the ground and dying. Next to the unfortunate are different decorations and precious items that she took with him the last path. And the unbridled horses are followed by her spouse - also on the faithful death, and it tries to keep in a chariot in vain. A child stretches to the lifeless body of the mother ...

Looking for a salvation of unfortunate citizens, persecuted by fire, continuous lava eruptions and incident ash. This is a whole tragedy of human horror and human suffering. The city dies into the sea of \u200b\u200bfire, statues, buildings - everything will be lowered down and flies on the distraught crowd. How many diverse persons and regulations, how many colors in these faces!

Here the courageous warrior and the young brother hurry him to hurry from the inevitable death of the elderly father of her ... They carry a relaxed old man who is being strengthened to move away, to remove the terrible ghost of death, trying to tear away from the ash owned by him. A dazzling brilliance of lightning, reflecting on his brow, leads the body of an old man into shudder ... and on the left, near the Christian, a group of women with longing looks at an ominous sky ...

One of the first appeared in the painting a group of plate with mother. To the elderly woman in a gusty movement, a young man in a broad-breasted hat is inclined. Here (in the right corner of the picture) the figure of the mother with daughters is evaporated ...

Painting owner, A.N. Demidov, was delighted with the noisy success of the "last day Pompeii" and certainly wanted to show the picture in Paris. Thanks to his efforts, it was exhibited in the art salon of 1834, but even before that the French were heard about the exclusive success of the painting of K. Bryullov from the Italians. But a completely different situation reigned in the French painting of the 1830s, she was the arena of a fierce struggle of various art directions, and therefore the work of K. Bryullov was greeted without those enthusias that they fell to his share in Italy. Despite the fact that the reviews of the French press were not very favorable for the artist, the French Academy of Arts awarded Karl Bulletov Honorary Gold Medal.

The present triumph was expected by K. Bryullov in his homeland. The picture was brought to Russia in July 1834, and she immediately became the subject of patriotic pride, was the focus of the attention of Russian society. Numerous engraved and lithographic reproduction of the "last day Pompeii" spawned the fame of K. Bryullov far beyond the capital. The best representatives of Russian culture enthusiastically welcomed the famous cloth: A.S. Pushkin shifted his plot into verses, N.V. Gogol called the picture "The World Creating", in which everything "is so powerful, so boldly, so harmoniously reduced to one as soon as it could arise in the head of the genius of universal." But even these own praises seemed insufficient to the writer, and he called the picture "with a bright resurrection of painting. He (C. Bryullov) is raised to grab the nature of the giant hugs."

Evgeny Baratsky dedicated to Karl Bulleov such lines:

He brought peaceful trophies
With you in the father's canopy.
And was the "Last Day Pompeii"
For Russian brush the first day.

"One hundred great paintings" N.A.Inina, publishing house "Veche", 2002

Original entries and comments on

Plot

On the canvas is one of the most powerful volcanic eruptions in the history of humanity. In 79, Vesuvius, who silent before that, so long that he had been extinct, suddenly "woke up" and forced everything alive in the district forever.

It is known that Bromlov read the memories of the Jr. Plane, who witnessed the events in Mizen, who survived during a disaster: "The crowd embraced by panic followed us and ... put on us with a dense mass, promoting forward when we came out ... We froze among the most dangerous and terrifying Scenes. The chariots that we dare to take out, so they were shaking back and ahead, although they stood on earth that we could not keep them, even laying big stones under the wheels. The sea seemed to roll back and deceived from the shores by the convulsive movements of the Earth; The land is definitely expanded significantly, and some marine animals were in the sand ... Finally, the terrible darkness began to dissipate as cloud of smoke; The daylight appeared again, and even the sun looked out, although his light was gloomy, as it happens before the approaching eclipse. Each item that appeared before our eyes (which extremely weakened), seemed to have changed, covered with a thick layer of ash, as if snow. "

Pompei today

A crushing blow to the cities occurred 18-20 hours after the start of the eruption - people had enough time to escape. However, not all were prudent. And although it was not possible to establish the exact number of dead, the account comes to thousands. Among them are mainly slaves who left the owners of the property, as well as elderly and patients who did not have time to leave. There were those who hoped to wait for the element of the house. Actually, they are still there.

In childhood, Bullov oglch on one ear after a father's slap

On the canvas people in panic, the element will not spare either the rich or the poor man. And what is noteworthy - to write people of different classes, used one model. Speech about Yulia Samoilova, her face is found on the canvas four times: a woman with a jug on the head in the left side of the canvas; Woman crashed to death in the center; Mother, attracting daughters, in the left corner of the paintings; Woman closing children and saving together with her husband. Persons for the rest of the heroes artist searched on Roman streets.

Surprisingly in this picture and how the issue of light is resolved. "The artist ordinary, of course, would not fail to take advantage of the Vesuvius eruption to highlight his picture; But Mr. Bullels neglected the sim tool. The genius inspired him a bold thought, as happy as the inimitable: to highlight the entire front part of the picture with a fast, minute and white gloss lightning, disperse a thick cloud of ash, facilitated the city, meanwhile as light from eruption, hardly breaking through the deep darkness, rows To the background is a reddish half, "then wrote in the newspapers.

Context

By the time Brullov decided to write the death of Pompeiyev, he was considered talented, but so far that still gives hope. For approval in the status of the Master I needed a serious job.

At that time in Italy, the theme of Pompeev was popular. First, excavations were very active, secondly, there were still a couple of Vesuvius eruptions. It could not not affect culture: on the scenes of many Italian theaters, the Opera Pachchini "L" Ultimo Giorno Di Pompeia "was successful. There is no doubt that the artist saw her and maybe more than once.

The idea to write the death of the city came to the Pompes themselves who visited Bullylov in 1827 on the initiative of his brother - Alexander architect. The collection of material took 6 years. The artist was scrupulous in detail. So, things that dropped out of the box, decorations and other various items in the picture are copied with those that they found archaeologists during excavations.

Watercolor Brullov were the most popular souvenir from Italy

For a few words, let's say about Yulia Samoilova, whose face, as already mentioned above, is found four times on the canvas. For the picture of Bryullov, I was looking for Italian types. And although Samoilova was Russian, her appearance answered the ideas of Bryullov about how Italian should look like.

"Portrait of Yu. P Selfov with Jovanina Pacini and Arapchonk". Brullov, 1832-1834

They met in Italy in 1827. Bullels gave up the experience of senior masters there and was looking for inspiration, and Samoilova lived life. In Russia, she has already managed to divorce, she had no children, and for the too turbulent bohemian life Nicholas I asked her to go away from the courtyard.

When the work on the picture was completed and the Italian audience saw a canvas, began a boom on the bullov. It was a success! Each at the meeting with the artist considered the honor of say hello; When he appeared in the theaters, everyone got up, and at the door of the house where he lived, or the restaurants where he had dinner, there were always many people to welcome him. With the very era of the Renaissance, no artist was in Italy the object of such worship as Karl Brullov.

In the homeland of the painter was also waiting for the triumph. The total euphoria about the picture becomes clear after reading the Brathantine lines:

He brought peaceful trophies
With you in the father's canopy.
And was the "Last Day Pompeii"
For Russian brush the first day.

Half of the conscious creative life of Karl Brullov spent in Europe. For the first time abroad, he went after the end of the Imperial Academy of Arts in St. Petersburg to improve the skill. And where, how to do this in Italy?! The first time of Bullov basically wrote Italian aristocrats, as well as watercolor with scenes from life. The latter became a very popular souvenir from Italy. These were small pictures with low-profile compositions, without psychological portraits. Such watercolors were mostly chased by Italy with her beautiful nature and represented the Italians the people genetically preserved the ancient beauty of their ancestors.

An interrupted date (water is completely running). 1827.

Brullov wrote simultaneously with Delacroix and Engrom. It was the time when the topic of the fate of enormous human masses comes to the forefront. Therefore, it is not surprising that for his software canvas, Bryullov chose a story about the death of Pompeev.

Brullov undermined the health when painting St. Isaac's Cathedral

The picture made on Nikolai I such a strong impression that he demanded that Brylov returned to his homeland and took the place of Professor of the Imperial Academy of Arts. Returning to Russia, Bryullov met and sounded with Pushkin, Glinka, Krylov.

Bullov's frescoes in St. Isaquis Cathedral

In recent years, the artist spent in Italy, trying to save the health, undermined during the painting St. Isaac Cathedral. The clock of a long gravity work in the cheese unfinished cathedral did not affect the heart and exacerbated rheumatism.

Among the masters of Russian romanticism Karl Brylovov - an outstanding figure. His monumental canvas, portraits of contemporaries, make up the Gold Foundation of Russian Painting. The story has kept epithets received by the artist from friends: "Brilliant", "great." It was the picture of Karl Bryullov "Last Day Pompeii" caused such a high assessment, honored by the Creator title of the Great Russian Romance Artist. Italian motifs, the classical topics of the Renaissance, reflected in the work of Bryullov, making a picture of the most important path of the artist's creative path.

"Last Day Pompeii": painting history

79 years of our era. The eruption of the volcano destroys the ancient city of the Roman Empire. During the catastrophe, more than two thousand inhabitants die, some are buried alive under the streams of lava. The theme of Pompeev is very popular for creativity of the early 19th century. The period between 1748 (the discovery of the ruins of Pompeev due to archaeological excavations) and 1835 marked by a variety of paintings, musical, theatrical art, literature about this event.

1827. Karl Brullov personally meets the history of the deceased city. He visits excavations. The young artist did not suspect about the fatality of the trip. Then the master will write that he felt a new feeling, forgetting everything, except for a terrible rock, which fell into the city. The author of the painting "Last Day Pompeii" was at a deep impression. For several years, Bullov is working on sources: historical data, literary evidence. The artist studies in detail the history of the region, fully feeling the subject of the deceased city. It is known that the artist communicated with people who carried out archaeological excavations, a lot of things read on the topic.

Karl Pavlovich multiplies an ancient city repeatedly, taking all the details of the future canvas from nature. Sketches, the picture very accurately convey the view of Pompeev. The venue of Bhorlov chose the crossroads, known as the "Tomb Street". Here, the ancient Pompesians were buried in the marble mausololes of the dust of their escort ancestors. The choice of intentional filled with deep symbolism.

The artist considered the need to illuminate Vesuvius. The volcano, which caused the tragedy, is occupied by the background of the work, creates an oppressive impression, enhancing the monumentalism of work. Brullov drew from the nature of local residents. Many Italians living around Vesuvia's surroundings are the descendants of the indigenous people of the deceased city. Having made a sketch of the composition, about seeing what the picture will be, the artist began work on the greatest work of his own creative path.

1830-33. Work on the work that brought world glory, boiling. The canvas filled with life, the spirit of the inevitable dying. From the initial sketch, the picture is slightly different. A slightly shifted point of view, there were more actors. Action plan, idea, a stylistic composition, made in the spirit of the work of the era of classicism, everything remains. "Last Day Pompeii" is a truly monumental work (4.65x6.5 meters).

The picture brought Bullyl world fame. The canvas goes directly to Rome in fact immediately after writing. Reviews critics stunned. The Italians experienced delight, seeing the deep Russian artist who felt the historical tragedy, with which painstaking, the smallest details of the work wrote as involved. The "Last Day Pompeii" Italians called the "triumphal" picture. Few Russian artists have honored so high estimates abroad. The end of the first third of the 19th century for Italy is a focused time that foreshadowed strong historical shocks. Painting Bryullov, speaking modern tongue, has become really trend. Historical memory is an important concept of a country that has beyond freedom from the Austrian power. The interest of a foreigner to the heroic past of original italy only spurned the revolutionary sentiment of the country.

Later, the picture was sent to Paris. The Louvre visited many great contemporaries of Bryullov, who wanted to see the magnificent canvas. Among the evaluations were the writer Walter Scott, who called the picture of an extraordinary. In his opinion, the genre of the painting "Last Day Pompeii" is a real picturesque epic. The artist did not expect such success. Brullov became a triumphant on a par with a picture.

The homeland of the artist, in St. Petersburg, "Last Day Pompei" went in the 1834th, where it is to this day.

Description of the painting "Last Day Pompeii"

The composition of the canvas is made according to strict canons of classicism, however, the work of the bullov - the transitional stage along the way to romanticism. From here, the pronounced theme of the tragedy is not a man, but the people. Appeal to real historical events - another characteristic romantic trait.

The front plan of the left corner of the painting is a married couple that covers their children's bodies. Here is a woman embracing daughters and a Christian priest. He expresses calm, humility, taking what happened as God's will. The image-antipode of other faces of the canvas, his eyes are not horrified. Bryullov laid a deep symbolism, opposition to Christian and Roman, pagan religion. In the middle of the cloth, priest, saving temple values, runs away from inevitable death. So the author identified the historical death of the pagan religion after the arrival of Christianity. On the steps of the tomb on the left we see a woman whose look full of primitive horror. Despair, Mute Molver for help is noticeable to everyone. Woman is the only character looking straight, turning to the viewer.

The right side of the picture is the side of the volcano. A rolled lightning blow destroys the statue. Heaven burns fire glow, foreshadowing. Through harsh, dark strokes, the artist metaphorically shows "Falling heaven." The ashes flies. A young man carries a lifeless girl (a marriage crown is banging on his head). Element prevented marriage. A similar pose accepts sons who carry an old man-father. The raised horse drops the rider. The young man helps to climb the mother, persuading it to run.

The center is located the main element of the composition. On the ground is the dead woman, on his chest - baby. The element carries the main idea of \u200b\u200bthe picture of the bullov "Last Day Pompeii": the destruction of the old world, the birth of the new era, the opposition of life and death. Very infectious romantic symbolism.

Contrasting of the rear background of the rear background of the beetle is cold, "dead" of the foreground light. Bryullov enthusiastically plays a light, creating a volume, immersing the viewer in what is happening. Russian art criticism reasonably considered Karl Pavlovich in Novator, who opened a new era of Russian painting.

Interesting facts about the picture "Last Day Pompeii"

The work of the Brullov is a lot of hidden meanings, mysteries. An erudite person is important not only to know who wrote the picture "Last Day Pompeii", but also, what secrets weigh the canvas:

• The artist standing on the steps is a self-portrait of the author. Bullels showed this element as deeply worries the tragedy of the eruption of Vesuvius, sympathizing with the heroes of the canvas;
• Graphman Samoilova, the nearest girlfriend, the artist's muse - a simply four-character paintings (a dead woman, a woman with horror in the eyes, a mother closing the children with a cloak);
• The name of the canvas has become actually winged for the Russian language. "Pompey" is used in the form of a female genus, but according to the rules the word multiple kind;
• The bullov painting was repeatedly mentioned directly in the works of classical Russian literature Lermontov, Pushkin, Turgenev, Gogol;
• Among the surviving victims of Pompeii - Pliny Jr., ancient historian. The artist depicted his young men who helped climb a fallen mother.

Where is the "Last Day Pompeii"

Images are not ways to convey the delicious monumentalism of the famous artwork, so be sure to come to St. Petersburg! 1895 - the canvas becomes part of the constant exposition of the Russian Museum. Here you can safely enjoy the magnificent masterpiece of the famous painter.

Bryullov Karl Pavlovich (1799-1852)

None of the European artists was awarded in the XIX century of such a grand triumph, which fell to the share of young russian painter Karl Pavlovich Bryullovawhen in mid-1833 he opened the door for the audience his Roman workshop with just finished picture "". Like Byron, he had the right to say about himself that in one beautiful morning he woken up famous. The word "success" is not enough to characterize the relationship to its picture. There was something more - picture He called the explosion of delight and worship before the Russian artist who discovered, seemed to be a new page in the history of world art.

In the autumn of 1833 picture appeared on exhibition in Milan.. Here, the triumph of the Russian master reached its highest point. Everyone wanted to see the work, "about which all Rome speaks." In Italian newspapers and magazines enthusiastic reviews were printed about " Last day Pompeii"And his author. As the great Masters of Renaissance was not once honored, so they began to honor Bullov. He became the most famous man in Italy. He was welcomed by applause on the street, arranged ovations in the theater. Poets devoted poems to him. During relocations at the borders of the Italian principalities, he did not require a passport against him - it was believed that each Italian is obliged to know him in the face.

In 1834, "" was put in the Paris Salon. French Academy arts award Bryullov gold medal. One of the first biographers Bryullov, N. A. Ramazanov, says that, despite the envious sense of some French artists, the Parisian public preferably caught his attention to " Last Day Pompeii"And with difficulty and reluctant it was separated from this pictures".

Never than the fame of Russian art was not broadening so widely throughout Europe. Even greater celebration expected Bryullov in the homeland.

Brought to St. Petersburg in July 1834 and put at first in the Hermitage, and then at the Academy of Arts, immediately found itself the focus of Russian society and became the subject of patriotic pride.

"Crowds of visitors, you can say, broke into the halls of the Academy to look at the" Pompeiu "," the contemporary tells. In its official annual report. Academy of Arts recognized bullovskaya picture best creation XIX century. Widespread engraved play "The last day Pompeii". They spawned slava Bryullov throughout the country, far beyond the capital. The best representatives of Russian culture enthusiastically welcomed picture. Pushkin wrote:

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.

Gogol wrote about " Last day Pompeii"An extensive article in which this recognized this picture "Full worldwide creation", where everything "is so powerful, so boldly, so harmoniously reduced to one as soon as it could arise in the head of the genius of universal."

Painting Bryullov Unusually highly raised interest in painting in the widest circles of Russian society. Invertible Sensules Last day Pompeii"In print, in the correspondence, in private conversations, clearly showed that the work of painting is able to worry and touch people no less than literature. The increase in the public role of fine arts in Russia began with the Bryllov celebrations.

Historical painting, has long been engaged in the leading place in academic art, asked, by the advantage, to the plots taken from the Bible and the Gospel or from ancient mythology. But even in cases where plot pictures It was not a legendary legend, but a real historical event, painters of the Academy were, in essence, very far from historical reliability in understanding and interpretation of the depicted. They did not seek the historical truth, because their goal was not to recreate the past, but the embodiment of one or another abstract idea. In them paintings Historical persons took the face of conditional "antique heroes", regardless of whether the event of ancient Roman or Russian history was depicted.

"Putting the way to a completely different understanding and interpretation of a historical topic.

Looking for life truth Bullov, first among Russian artists, set themselves the goal to recreate picture The real event of the past, relying on the study of historical sources and archaeological data.

In comparison with the fantastic "archeology" of the predecessors Bryullov This external historicism itself was in itself a serious innovative achievement. They, however, is far from being exhausted bullovskaya pictures. Archaeological reliability served Bryullov Only a tool for a deeper disclosure of the topic, to express a modern relationship to the past.

"Think paintings belongs to completely taste of our century, which, as if feeling his terrible fragmentation, seeks to copulate all the phenomena into common groups and chooses strong crises that are felt by the whole mass, "wrote Gogol, revealing the content" The last day Pompeii".

In contrast to the former historical painting with her cult of heroes and underlined attention to a separate person, opposed impersonal crowd, Bullov conceived "" as a mass scene, in which the only and genuine hero would be the people. All major actors in picture are almost equal expressants of her topic; meaning pictures It is not embodied in the image of a single heroic act, but in the attentive and accurate transmission of the psychology of the masses.

However, Bullov With intentional and even sharp straightness emphasizes the main contrasts, which expressed the idea of \u200b\u200bstruggle against the old, life with death, the human mind with the blind power of the elements. All this thought is subordinate to all ideological and art decision pictures, From here there are its features that determined the place " The last day Pompeii"In Russian art of the XIX century.

Subject Pictures taken from ancient Roman history. Pompei (Rather Pompeii) - The old Roman city, located at the foot of Vesuvia, - August 24, 79 of our era, as a result of the strongest volcanic eruption, was covered with lava and poured with stones and ashes. Two thousand inhabitants (which were only about 30,000) died on the streets of the city during panic escape.

More than one and a half thousand years, the city remained buried underground and forgotten. Only at the end of the XVI century, during the production of earthworks, a place was accidentally found, where the dead Roman settlement was once located. Since 1748, archaeological excavations began, especially revived in the first decades of the XIX century. They caused increased interest in artistic circles not only than Italy, but also around the world. Each new discovery became a sensation among artists and archaeologists, and tragic subject ibeli Pompeii Then it was used in literature, painting and music. In 1829, the opera of the Italian composer Pachchini appeared, in 1834 - the historical romance of the English writer Bullveritton " The last days of Pompeii". Bullov Previously, others turned to this topic: Sketch sketches of his future pictures refer to 1827-1828 years.

Bryullov It was 28 years old when he conceived writing "." The fifth year of his pensioners in Italy expired. There were already several serious works for him, but none of them seemed to be an artist quite decent to his talent; He felt that he had not yet justified those hopes that were imposed on him.

From Bryullov waited large historical picture - It is historical, because in the aesthetics of the beginning of the XIX century, this kind of painting was considered the highest. Without glowing with the dominant aesthetic views of his time, Bullov And he himself sought to find a plot that meets the internal possibilities of his talent and, at the same time, able to meet the requirements that could be brought to him with modern criticism and the Academy of Arts.

In search of such a plot Bullov Long fluctuated between themes from Russian history and antique mythology. He assumed to write picture "Oleg nails his shield to the gates of Tsargrad", and later marked the plot of stories Peter the Great. At the same time he made sketches and mythological topics (" Death of Phaeton", "Gilas, abducted by nymph"And others). But mythological themes, highly valued at the Academy, contradicts the realistic trends of the young Bryullov, And for the Russian topic, he, being in Italy, could not collect material.

Subject the death of Pompeii Allowed many difficulties. The most plot was, if not traditional, it's still undoubtedly historical, and on this side satisfied the basic requirements of academic aesthetics. The action was to turn around against the background of an ancient city with its classical architecture and monuments of ancient art; The world of classical forms was in this way picture Without any discrepancy, as it were, and the spectacle of the raging elements and the tragic death discovered the access of romantic images in which the painting talent could find new, not yet seen the capabilities of the image of large feelings, passionate spiritual impulses and deep experiences. It is not surprising that the topic is carried away and captured Bryullov: It combined all the conditions for the most complete expression of his thoughts, knowledge, feelings and interests.

Sources based on which Bullov Sold his topic, was the authentic monuments of antiquity, disclosed in the deceased city, works of archaeologists and description catastrophe in Pompeiy, made by limit and eyewitness, roman writer Parish younger.

Work on " Last day Pompeii"Tightened for almost six years (1827-1833), but evidence of deep and tense creative quest Bryullov They are numerous drawings, etudes and sketches, clearly showing how the artist developed developed.

Among these preparatory works, a special place occupies a sketch of 1828. According to the power of artistic impact, he may not be inferior to the most picture. True, the sketch remained not completely modified, individual images and characters are only outlined in it, and not disclosed to the end; But this external incompleteness is peculiar to the deep internal completion and artistic persuasiveness. The value of individual episodes, subsequently designed in pictureHere, as it were, dissolved in a common passionate impulse, in a single tragic feeling, in a solid image of a dying city, powerless before the head of the elements that fell on it. The sketch is based on a romantically understood idea of \u200b\u200bthe struggle of a person with the fate, which the natural forces of nature personifies here. Delicia comes with an inevitable cruelty, like an antique rock, and a person with all his mind and will unable to confront fate; He remains only with courage and dignity to meet inevitable death.

But Bullov did not stop at this decision of his topic. He was not satisfied with the sketch precisely because it was so insistently sounded notes of hopeless pessimism, blind humility to fate and disbelief in human strength. Such an understanding of the world stood beyond the traditions of Russian culture, contradicted her healthy folk basics. Life-affirming force inherent in talent Bullov, could not reconcile with " The last day Pompeii", Required exit and permission.

Bullov I found this way out, opposing the destructive elements of nature, the spiritual greatness and beauty of a person. Plastic beauty turns into a powerful strength, arguing life to death and destruction. "... His figures are beautiful with all the horror of his position. They drown out by their beauty," he wrote Gogol, subtly noticed the main thought bullovskaya pictures.

In an effort to express a variety of psychological conditions and shades of feelings that engulfed residents of the dying city, Bullov Built my own picture As a cycle of individual, closed episodes, strictly related to each other. Their ideological meaning becomes clear only while the simultaneous coverage of all groups and independent plot motives constituting "".

The thought of beauty triumphant over death, with special clarity expressed in the group of figures, crowded on the tomb steps in the left pictures. Bullov intentionally connected here images of flowering strength and youth. Neither suffering nor the horror distorts them perfectly beautiful traits; On the faces you can only read the expression of surprise and alarmed expectation. Titanic power is felt in the shape of the young man, with a passionate impulse of a breaking through the crowd. It is characteristic that in this world of excellent classical images inspired by ancient sculpture, Bullov introduces a noticeable shade of realism; Many of his characters are undoubtedly written with lively nature, and there is a self-portrait among them. Bryullovwho portrayed himself in the form of a Pompeyan artist who, fleeing from the city, takes a box with brushes and paints.

In the main groups of the right pictures The mains are motives, emphasizing the spiritual greatness of man. Here Bullov Focused examples of courage and dedicated debt performance.

In the foreground there are three groups: "Two young pompanyann, bearing on the shoulders of their sick old man-father", "Pliny with Mother" and "Young Spouses" - the young man-husband supports a wedding wreath falling in the exhaustion. However, the latter group is psychologically not developed and has the character of a composite insert required for rhythmic equilibrium pictures. A much more informative group of sons, carrier Father: In the form of an old man, a majestic hand, proud of the inflexibility of the spirit and harsh courage is expressed. In the image of a younger son, a black-eyed Boy-Italian, a precise and direct etude felt in which a lively realistic feeling is clearly manifested. Bryullov.

Realistic principles with a special force are expressed in a wonderful group of plate with mother. In sketches and early sketches, this episode is designed in classical forms that emphasize the historicity and the ancient nature of the scene. BUT B. picture Bullov Resolutely departed from the initial plan - the images created by them are amazing with their unpredictment and genuine vitality.

IN center pictures There is an open figure of a young woman who crashed when the chariot falls. Can assume that in this figure Bullov I wanted to symbolize the entire dying antique world; The hint of such an interpretation occurs in the reviews of contemporaries. In accordance with such an intention, the artist sought to find the most perfect classical embodiment for this figure. Contemporaries, and among them Gogol, saw one of the most poetic creatures in it Bryullov.

Not all episodes are equally important for the development of the topic, but in their alternation and comparison, the main thought is expanding Bryullov About the struggle of life with death, about the celebration of the mind over the blind forces of the elements, about the birth of a new world on the swathful wreckage of the old.

Not by chance next to the central figure of the killed woman, the artist portrayed a beautiful baby as a symbol of the inexhaustive strength of life; It is not by chance that images of youth and olderism in Pralna groups with mother and sons carrying the elderly father; It is not random, finally, and an underlined contrast between the "pagan", an antique beautiful crowd on the steps of the tomb and the majesticly calm "family of Christians." IN picture There is also a pagan priest and a Christian priest, as if personifying the outgoing antique world and the Christian civilization that emerges on his wreens.

The images of the priest and the priest, perhaps not deeply deep, their mental world is not shown in picture and the characteristic remained largely external; it subsequently gave rise to V. V. Stasov Surgo to reproach Bryullov For the fact that he did not use the ability to abruptly oppose the shallow dying rome and young Christianity. But the thought of these two worlds is undoubtedly present in picture. While simultaneously and solid perception pictures It is clearly performed by the organic connection of the components of its episodes. The shades of feelings and various mental states, acts of valor and self-sacrifice next to the manifestations of despair and fear are given in " Last day Pompeii"To a slender, harmonic and artistic one-piece unity.

Wonderful canvas. L., 1966. C.107

Restoration of Painting Last Day Pompeii

An exceptional event in the life of the Russian Museum was K. P. Bryullova "". Numerous preceding restorations only pulled the moment of starting the fundamental work on the web - the canvas of the painting "burned", became fragile; On the places of canvas breakthroughs there were 42 patch, which manifested on the front side; The loss of the colorful layer was toned with an occasion of the author's painting; The lacquer coating has changed much in color. After strengthening the picture was translated into a new canvas. The restorers of I. N. Kornikova, A. V. Minin, E. S. Soldatenkov; Counseling S. F. Konenkov.

Picture K. P. Bryullova "Last Day Pompeii" Enrolled in the Russian Museum of Hermitage in 1897. After a serious restoration in 1995, the picture was stretched on a previously renovated author's subframe and returned to the exhibition.

The decision on the start of the restoration of the painting was made at a meeting of the expanded restoration council of the State Russian Museum on March 15, 1995.

At the beginning of the work was strengthened by a preventive paper tip and then, the canvas took off from the author's subframe. After that, the picture was stretched out of the edges on the marble floor with a colorful surface down and the back side is cleaned by surface contaminants. From the back, two layers of the ancient restoration duplication edges were removed, which were the cause of hard deformations of the canvas at the edges and more than 40 restoration patches, which stood on the places of old canvas breakthroughs. Places over hundreds of loss of the author's canvas, especially numerous along the edges, were embedded with inserts from a new canvas. After that, the picture was duplicated on a new canvas, identical in the nature and quality of the author, ordered in Germany. The loss of the colorful layer is filled with restoration soil and toned watercolor. The author's lacquer is fully restored by regeneration by couples of alcohol.

In the process of work, the methods of strengthening the colorful layer and soil on the large-ground space were worked out. An important result of the work was the development of new devices that facilitate and simplify the process of technical restoration. According to a special project, a solid duralumin subframe was created with a system of special fasteners for stretching a duplicate canvas. This system allowed in the process of work to repeatedly tighten the canvas to the desired tension.

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After the demonstration of the picture Nicholas I awarded the bullov laurel wreath,
After that, the artist was called "Karl Great"
Fragment of Karl Bryullov's painting (1799-1852) "Last Day Pompeii" (1830-1833)

Karl Brullov so faded the tragedy of the city, destroyed by Vesuvius, which personally participated in the excavations of Pompeii, and later worked carefully over the picture: instead of the three years specified in the order of the young patronage of Anatoly Demidov, the artist wrote a picture of the six years. On the imitation of Raphael, plot paralles with the "copper rider", touring work in Europe and fashion on the tragedy of Pompeii among people of art.

Before you start watching the photos that the son made in Pompeium, it is worth understanding how it was.
The eruption of Vesuvia August 24-25 in 79 of our era was the largest cataclysm of the ancient world. On the last day of several coastal cities, about 5 thousand people died. Even now, a modern man has the word "death" immediately associatively demands the words "Pompeii", and the phrase: "Yesterday I was just the death of Pompeii" clearly and metaphorically pointed on the scale of trouble, let it break through the fan pipe and flooded the neighbors.
This story is particularly well known for the picture of Karl Bryullov, which can be seen in the Russian Museum of St. Petersburg. This picture is remembered, seeing blockbuster, it is clear that in times, when there was no movie, she made an indelible impression on the audience

In 1834, a "presentation" of the paintings in St. Petersburg took place. Poet Yevgeny Baratnsky wrote lines: "The last day of Pompei became for the Russian brush first day! "The picture struck Pushkin and Gogol. Gogol grabbed in his inspirational article dedicated to the picture, the secret of her popularity: "His works are the first, who may be understood (although not the same) and an artist who has the highest development of taste, and does not know what artism is " And indeed, a brilliant work is understandable to everyone, and at the same time, a more advanced person will open another other planes of another level in it.
Pushkin wrote poems and even sketched on the fields sketchously part of the composition of the painting.

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
Under stone rain, under inflamed rush,
Crowds, old and young, runs out of grades (III, 332).

This is a short retelling of the picture, a multifigure and complex compositionally, not at all small canvas, in those days it was even the largest picture that already amazed contemporaries: the scale of the picture, correlated with the disaster scale.
Our memory cannot absorb everything, its capabilities are not limitless, such a picture can be considered not once and every time you still see something else. What did you allocate and remember Pushkin? The researcher of his work Yury Lotman allocated three main thoughts "The uprising of the elements - the statues come in motion - the people (people) as a victim of disaster." And I did a completely reasonable conclusion: Pushkin just finished his "copper rider" and saw that he was close at that moment. And really a similar plot: Elements (flood) raging, the monument comes to life, Evgeny frightened runs from the element and monument.
Lotman writes about the direction of Pushkin's glance: "The text mapping with the Bryullian cannol reveals that Pushkin's view slides diagonally from the right upper angle into the left lower. This meets the basic composition axis of the picture. Researcher of diagonal compositions, artist and theoretics of art N. Tarabukin wrote: "The content of the picture built by the compositionally according to this diagonal is often the same or another demo procession." And further: "The viewer of the picture in this case occupies a place as if among the crowd shown on the canvas."
Indeed, we are unusually captured by what is happening, Bhorlyov managed to make the viewer with the most involved events. There is a "presence effect".
Karl Bryullov finished the Academy of Arts in 1823 with a gold medal. By tradition, gold medals went to Italy for internship. There, Bryullov visits the workshop of the Italian artist and for 4 years copies the "Athenian school" of Rafael, and in full size of all 50 figures. In this, in the time of Bryullov, the writer Standal is visited. There is no doubt that Bullel has learned a lot from Rafael, the ability to organize a large canvas. In Pompeii, Bullov got in 1827 together with the Countess of Maria Grigorievna Razumovskaya. She became the first customer picture. However, the rights to the paintings redeems the sixteen-year-old Anatoly Nikolayevich Demidov, the owner of the Ural mining factories, the rich and the patron. He had two million rubles for net annual income. Nikolay Demidov, the Father, who recently died, was a Russian envoy and sponsored an excavation in the forum and capitol in Florence. Demidov will continue to give the picture to Nikolai first, and he will give the Academy of Arts, from where it will fall into the Russian Museum. Demidov signed a contract with a Bryullov for a certain period and tried to fit the artist, but he conceived a grand intention and a total of 6 years work on the picture.
Brullov makes a lot of sketches and collects material.

Brullov so became interested that he himself participated in the excavations. I must say that the excavations began formally on October 22, 1738 by decree of the Neapolitan King of Karl Third, they were conducted by an engineer from Andalusia Rock Joaquin de Alcubierrere with the 12th workers and these were the first in the history of archaeological system excavations when detailed records were found all that was found, Prior to that, there were mainly pirated methods when precious items were snatched, and the rest could be barbaric destroyed. By the time Bullels appeared, Herculane and Pompeii became not only the site of the excavation, but also the place of pilgrimage of tourists. In addition, Bullov was inspired by Opera Pachchini "Last Day Pompeii", which he saw in Italy. It is known that he dressed up in the costumes to the spectral. Gogol, by the way, compared the picture with the opera, apparently told the "Theatricalness" of Misanszen. She is definitely not enough musical accompaniment in the Spirit of Karmini Buran.

So, after a long sketching, Bromlov wrote a picture and already in Italy she caused tremendous interest. Demidov decided to take her to Paris on the salon, where she also got a gold medal. In addition, it was exhibited in Milan and London. In London, the picture saw the writer Edward Bullver-Litton, later writing his novel "the last days of Pompeii" from the canvas. It is curious to compare the two points of the interpretation of the plot. In Bryullov, we see a clear all action, somewhere near the fire and smoke, but in the foreground there is a distinct image of the actors. When panic has already begun and massive, the city was in a fair smoke from the ash, the artist Konnepad is depicted in a small St. Petersburg rain and pebbles scattered in the sidewalk. People are rapidly running from the fire. In fact, the city was already in a whatever could, it was impossible to breathe, in the novel by Bullver-Litton heroes, a couple in love, saves the slave, blinding from birth. Since she is blind, it easily finds the way in the dark. Heroes are saved and accept Christianity.
Have Christians in Pompeiy? At that time they were gone and unknown reached the new faith to the provincial resort. However, Brullers also opposes the pagan faith and death of the Gentiles of the Christian faith. In the left corner of the paintings, we see a group of an old man with a cross on the neck and women, under his defense. The old man drew his eyes in heaven, to his God, perhaps he will save him.

The picture is familiar to me since childhood, once, in the art school, we disassembled her whole lesson, it was on the example of the "last day Pompeii" the teacher told about the main picturesque techniques that the artist used. Indeed, she can serve as a textbook on painting, if disassembled carefully. The artist uses color and light contrasts, skillfully combines groups of people. Although contemporaries-artists called it "scrambled eggs" because of bright colors, mostly a bright composite center, we understand that Italy with its bright natural paints could not affect. Bryullov is considered the founder of the "Italian genre" in Russian painting.

By the way, the Bromlov some figures sized out of the excavations. By the time they began to pour emptiness by plaster and received quite real figures of the dead inhabitants.

Classic teachers were complained by Karl for the retreat from the canons of classical painting. Karl rushed between the classics absorbed at the Academy with its ideal-sublime principles and a new aesthetics of romanticism.

If you look at the picture, you can select several groups and individual characters, each with its own history. Something was inspired by excavations, something historical facts.

The artist itself is present in the picture, his self portrait is recognizable, here he is young, he is about 30 years old, he puts the most necessary and expensive on his head - a drawer with paints. This is a tribute to the tradition of the Renaissance artists draw their self-portrait in the picture.
The girl bears next to the lamp.



The son who endowed his father on himself reminds of the classical plot about Eney, who left the Father from the burning Troy.



In one piece of matter, the artist unites the family that saves disaster in the group. During the excavations, the couples embraced before death, children along with their parents, especially touched.




Two figures, a son who persuades mother stand up and run on, taken from the pole junior letters.



Pliny Jrked was an eyewitness, who left a written certificate of the death of cities. Two letters have been preserved written by the historian Tacitis, in which he talks about the death of his uncle Parce of the elder, the famous scientist, and its own misadventures.
Gai Ploun was only 17 years old, at the time of the catastrophe he studied the story of Tita Libya to write an essay, and therefore refused to go with his uncle to look at the volcanic eruption. Pliny Elder was then the admiral of the local fleet, the position he received for his scientific merit was light. Curiosity thugged him, besides, some kind of recaline sent him a letter with a request for help, from her villa could only be saved by the sea. Pliny looked past Herculaneum, people on the shore at that moment could still be saved, but he sought to see the eruption in all its glory rather. Then, the ships in the smoke hardly found the road to Staby, there was Polyniy, but the next day he died, hiding the poisoned gray air.
Gai Pliny, who remained in Mizen, I am 30 kilometers from Pompei, was forced to flee, because the disaster came to them with her mother.
The picture of the Swiss artist Angelica Kaufmann just shows this moment. The Spanish buddy persuades Guy and his mother run, and they break, thinking to wait for the uncle. Mother in the picture is not unrefected at all, but it's still young.




They run, the mother asks her to leave and flee alone, but Guy helps her go further. Fortunately, they are saved.
Pliny described the horror of the disaster and described the type of eruption, after which it began to call "Plynian". The eruption he saw from published:
"The cloud (the looked offended could not determine what mountain it arose; that it was Vesuvius, recognized later), in his form, most likely resembled: Up rose as if a high trunk and from him in all parties diverged as if branches. I think that he was thrown by a current of air, but then the current weakened and the cloud from his own severity began to disperse in width; In places it was bright white, places in dirty spots, as if from the ground and the ashes raised up. "
Pompei residents have already experienced over 15 years before the eruption of the volcano, but did not conclusions. Wine is the seductive sea coast and fertile land. Each gardener knows how well grows on the ash harvest. Humanity still believes in "perhaps". Vesuvius and after that woke up more than once, almost once every 20 years. Many drawings of eruptions of different centuries have been preserved.

It was this particularly influenced by the death of cities, the wind carried the suspension from the thrown particles towards the southeast, just on the cities of Herculaneum, Pompeii, Staby and several other small villas and villages. During the day, they found themselves under the multi-metering layer of ash, but before that many people died from the stonepad, burned down alive, died from suffocation. Easy shocking did not prompt about the approaching catastrophe, even when stones were sprinkled from the sky, many preferred to pray to the gods and hide in homes, where they were closed alive by a layer of ashes.

Guy Pliny, who survived all this in a lightweight version in Mesima describes what happened:"Already the first hour of the day, and the light is incorrect, like a patient. Houses around shakes; On an open narrow platform is very scary; That's about it collapsed. It was decided to finally leave the city; We are going on a crowd of people who have lost their heads and preferring someone else's decision to their; With a fright, it seems reasonable; We are pressured and pushed in this accopriety of leaving. Going out for the city, we stop. How many amazing and how much terrible we survived! The carts that were ordered to accompany us, in a completely even place threw in different directions; Despite the subled stones, they could not resist the same place. We saw how the sea leaves back; Earth, shaking, as if pushed him. Shore clearly moved forward; Many marine animals are stuck in dry sand. On the other hand, a black terrible cloud, which was broken in different places ranging fiery zigzags; It opened wide brine stripes similar to lightning, but large. "

The flour of those who have exploded the brain from the heat, the lungs became cement and teeth and bones disintegrated, we cannot submit.

As happened during one day of the catastrophe can be seen in the BBC film, or briefly on such an installation:



Or watch the film "Pompeii", where, too, with the help of computer graphics, a view of the city and a large-scale apocalypse is recreated.



And we will see what archaeologists disarmed for long years of excavations ..