Last day Pompeii Description. "Last Day Pompeii" Bryullova
August 15th, 2011, 04:39 pm
1833. Canvas, oil. 456.5 x 651cm
State Russian Museum, St. Petersburg
Painting Bullov can be called full, worldwide
by creating. He concluded everything.
Nikolay Gogol.
On the night of August 24-25, 79 N. e. Vesuvia eruption pompeii, Herculane and Staby were destroyed. In 1833, Karl Brullov wrote your famous picture "The last day of Pompeii".
It is difficult to call a picture that would use the same success in contemporaries as the "last day Pompeii". As soon as the canvas was completed, the Roman workshop of Karl Bryullov underwent a real siege. "INey Rome glasses to watch my picture ", - wrote the artist. Exhibited in 1833 in Milan"Pompey" literally shocked the public. We have a praise reviews of newspapers and magazines,Bryullov was called revived by Titian,second Michelangelo, new Rafael ...
In honor of the Russian artist, lunches and techniques were arranged, poems were dedicated to him. Stoyed Bullet appears in the theater - the hall was exploded with ovations. The painter was recognized on the streets, threw flowers, and sometimes it was ending with the fact that fans with songs wore him in her arms.
In 1834, the picture, at willcustomer, Industrialist A. N. Demidova Was exhibited in the Paris Salon. The reaction of the public was not so hot as in Italy (envy! - they explained the Russians), but Pompey was awarded the Gold Medal of the French Academy of Fine Arts.
The enthusiasm and the patriotic rise, with which the picture met in St. Petersburg is difficult to imagine: Thanks to Brylov, Russian painting has ceased to be a truly student of the great Italians and created a work that admire Europe!The picture was presented Demidov NikolaiI. who briefly placed it in the Imperial Hermitage, and then presented Academy art.
According to the memories of the contemporary, "crowds of visitors, one can say, broke into the halls of the Academy to look at the" Pompei "." He talked about masterpiece in the salons, shared opinions in private correspondence, made notes in diaries. The honorary nickname "Karl Great" was established for the Bruner.
Pushkin wrote under the impression of Pushkin's picture:
"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. "
Gogol devoted a remarkably deep article, and Evgeny Baratsky's poet, and the poet of Evgeny Baratsky expressed universal education in the famous expression:
«
Brought you peaceful trophies
With you in the father
And became the "Last Day Pompeii"
For Russian brush first day! "
The unlimited delights have long asleep long ago, but today the picture of Bryullov produces a strongest impression that goes beyond those sensations that painting usually causes us, even very good. What is the case?
"Street of Tomb". In the depths - the Herkulant Gate.
Photo second half.19 century.
Since in the middle of the 18th century, an excavation began in the pompes, interest in this city, the dead with the eruption of Vesuviya in 79 N. e., did not fade. The Europeans flocked in Pompeii to wander through the ruins, freed from the layer of petrified volcanic ash, admire the frescoes, sculptures, mosaics, to mow up to unexpected finds of archaeologists. Excavations attracted artists and architects, the etchings with the views of Pompey were in great fashion.
Bullov , first visited the excavation in 1827, very accurately conveyedfeeling of empathy events of two thousand years agowhich covers anyone who comes to Pompeii:"I specifically made it unwittingly forced me to move at the time when these walls were still inhabited / ... It is impossible to go through these ruins, without feeling in themselves some completely new feeling that makes everyone forget, except the terrible incident with the SIM city. "
Express this "new feeling", create a new image of antiquity - not an abstract-museum, and holistic and full, striking the artist in his picture. It was granted in an era with a meticulousness and generosity of the archaeologist: out of five years on the creation of the cloth of 30 square meters left for only 11 months, the rest of the time took preparatory work.
"I took the decoration of this all from nature, not retreating at all and not adding, standing towards the city gate back to see the part of Vesuvia as the main reason," Bullel shared in one of the letters.There were eight gates in the pompoms, butfurther, the artist mentioned the "ladder leading inSEPOLCRI SC AU RO "- the monumental tomb of the famous Skaown citizen, and this gives us the opportunity to accurately set the selected trouser area of \u200b\u200baction. We are talking about the Herculant Gate Pompey (Porto di Ercolano. ), beyond which, already outside the city, began "Tomb Street" (VIA DEI S EPOLCRI) - Cemetery with lush tips and temples. This part of Pompey was in the 1820s. It is already well cleared, which allowed the painter with the maximum accuracy to reconstruct the architecture on the canvas.
Tomb of Skaver Reconstruction of 19 V.
Recreation of the painting of the eruption, Bryullov followed the famous postpinion of the younger to Tacitis. Young Pliny survived the eruption in the marine port of Mizeno to the north of Pompey and described in detail what it seemed to move from their places, widely blurred on a volcanic cone Flames falling from the sky Hot pieces of pembes, heavy rain from the ashes, black impenetrable darkness , Fiery zigzags like giant lightning ... And all this brulls suffered on canvas.
Seismologists are amazed at what convincing it depicted an earthquake: looking at the collapsing at home, you can determine the direction and force of an underground push (8 points). Volcanologists note that Vesuviya's eruption is written with all the accuracy for that time. Historians argue that in the picture of Bryullov, an ancient Roman culture can be studied.
To reliably capture the world of ancient Pompei destroyed by the catastrophe, Bryullov took the samples found during the excavation objects and remains of bodies, made countless sketches in the Archaeological Museum of Naples. The way to restore the deaths of the dead, pouring the lime to those formed from the bodies, was invented only in 1870, but also during the creation of a picture found in the petrose skeletons indicated the last convulsions and gestures of the victims. Mother hugging two daughters; A young woman, to death crashed during a fall from a chariot that covered the cobblestone, turned out to earthquake from the pavement; People on the steps of the tomb of the Spawl, protecting heads from the stonepad to the tabereats and dishes, is not the fruit of the painter fancy, but the artistic recreated reality.
On canvas we see characters endowed with portrait traits of the author and his beloved, Countess Yulia Samoilova. Bullov portrayed himself by an artist carrying a box with brushes and paints on his head. Wonderful features of Julia are recognized in the picture four times: a girl with a vessel on his head, a mother, embracing daughters, a woman pressed to the chest of a baby, a noble pomp, fallen with a broken chariot. Self portrait and portraits of the girlfriend - the best dealing of the fact that in his penetration into the past, Bryullov really affected the event, creating and for the viewer "the effect of presence", making it a member of what is happening.
Fragment of painting:
self-portrait Bryullovand the portrait of Yulia Samoilova.
Fragment of painting:
composite "Triangle" - Mother embracing daughters.
Painting Bryullova landed all - and strict academics, zealors of the aesthetics of classicism, and those who appreciated the novelty in art and for whom "Pompey" became, according to Gogol, "Light Resurrection of Painting."This novelty brought a fresh wind of romanticism to Europe. The dignity of the painting of Bryullov is usually seen in the fact that the pupil of the St. Petersburg Academy of Arts was opened with new trends. At the same time, the classic layer of the picture is often interpreted as a surler, the inevitable tribute to the artist with a routine past. But it seems that another turn of the topic is possible: the alloy of the two Izmov turned out to be fruitful for the painting.
An unequal, rock struggle with elements - such is a romantic pathos painting. It is built on sharp contrasts of darkness and the disastrous light of eruption, inhuman power of the soulless nature and high heat of human feelings.
But in the picture there is still something opposing chaos of the catastrophe: an unshakable rod in shocking to the basics of the world. This rod is a classic equilibreence of the most complex composition that saves the picture from the tragic sense of hopelessness. The compositions built according to the "recipes" composition - raised by the subsequent generations of painters "Triangles", in which groups of people fit, the equilibrium masses on the right and in the forest is in the living tense context of the picture quite differently than in dry and dead academic canvases.
Fragment of painting: young family.
In the foreground, a pavement pavement damaged by an underground push.
Fragment of the picture: the deceased pompayanka.
"The world is still harmonious in its foundations" - this feeling arises from the viewer subconsciously, partly contrary to what he sees on the canvas. An encouraging message of the artist is read not at the level of the plot of the paintings, but at the level of its plastic solution.The romantic element doubt the classically perfect form,and in this unity, the opposite is another secret of the attractiveness of the Bhorlylovsky canvas.
Many exciting and touching stories are told in the picture. Here the young man in despair peers into the face of the girl in the wedding crown of the deprived of the feelings or deceased. Here is a young man in something convincing the old woman sitting without his strength. This pair is called "Plinen with Mother" (although we remember, Plinles were not in the pussy, but in Mizeno): In a letter to Tacitith, Plini transmits his dispute with her mother, who convinced her son to leave her and, not bag, run, And he did not agree to leave the weak woman. Warrior in the helmet and boy with a patient old man; Baby, miraculously survived with a fall from the chariot, hugs the dead mother; A young man threw his hand, as if heaving the blow of the elements from his family, the kid on his hands at his wife with children's curiosity stretches towards the dead bird. People are trying to carry with them the most expensive: pagan priest-Truck, Christian - Cadyl, artist - brushes. The deceased woman was lucky jewelry, which, not needed, are lying on anyone, they are lying on the pavement.
Fragment of painting: pill with mother.
Fragment of the picture: Earthquake- "The idols fall".
Such a powerful plot load on the picture can be dangerous for painting, making a web "story in pictures", but the bullov is the literature and the abundance of parts do not destroy the artistic integrity of the picture. Why? The answer we find everything in the same article of Gogol, which compares the picture of the bullov "on the extensity and combination of everything beautiful with the opera, if only the opera is really the connection of the three arts world: painting, poetry, music" (under Gogol's poetry, obviously meant literature at all).
This feature of "Pompeii" can be designated in one word - syntheticism: Cartigarenicly connects the dramatic plot, bright entertainment and thematic multi-chain, similar to music. (By the way, the theater framework of the picture of the real prototype -Oropera Giovanni Pachchini "Last Day Pompeii", which koting the years of the artist on the web was put in the Naples theater of San Carlo. Bullelov was well acquainted with the composer, he listened to Opera several times and lent the costumes for their comforters.)
William Turner. Vesuvius eruption. 1817
So, the picture resembles the final scene of the monumental opera performance: the most expressive decorations are seized for the final, all the plot lines are connected, and the musical themes are woven into a complex polyphonic integer. This picture-performance is similar to antique tragedies, in which the contemplation of the nobility and the courage of the heroes in the face of inexorant rock leads the viewer to catharsis - spiritual and moral enlightenment. The feeling of empathy, embracing us in front of the picture, is akin to the fact that we experience in the theater when what is happening on the stage touches us to tears, and these are tears with the heart.
Gavin Hamilton. Neapolitans are watching the eruption of Vesuvius.
The second floor. 18 V.
The picture of the bullov is excitingly beautiful: the huge size is four and a half for six and a half meters, stunning "special effects", divinely folded people like revived antique statues. "His figures are beautiful with all the horror of their position. They stop him with their beauty, "he wrote Gogol, sensiblely catching another feature of the picture - the aestheticization of the catastrophe. The tragedy of the death of Pompius and, wider, the entire ancient civilization is represented by us as an incredibly beautiful sight. What are these contrasts of grappling on the city of black clouds, shining flames on the slopes of the volcano and ruthlessly bright flashes of lightning, these are captured at the very moment of the fall of the statue and the crumbling, as if cardboard, buildings ...
The perception of the eruptions of Vesuvius as the grand performances set by nature itself, appeared already in the 18th century - even special machines imitating the eruption were created. This "fashion on the volcano" introduced the British Messenger in the Neapolitan kingdom of Lord William Hamilton (the spouse of the legendary Emma, \u200b\u200bthe girlfriend Admiral Nelson). Passionate volcanologist, he was literally in love with Vesuvius and even built a villa on the slope of Volcano to admire eruptions comfortably. Observations for the volcano when he showed activity (in 18-19 centuries. There were several eruptions), verbal descriptions and sketches of its volatile beauty, climbing the crater - such were the entertainment of the Neapolitan elite and visitors.
Follow with the fading of the heart for the disastrous and beautiful Games of Nature, even if it is necessary to balance the acting volcano acting in the guide of the acting volcano. This is the most "ecstasy in battle and the abyss of gloomy on the edge," which Pushkin wrote in the "Little Tragedies", and which handed over the Brullers in his canvas, so almost two centuries forcing us to admire and horrify.
Modern Pompeii
Marina Agranovskaya
Medieval Christians considered Vesuvius the shortest road to hell. And no wonder: from his eruptions more than once the people and cities. But the most famous eruption of Vesuvia happened on August 24, 79 of our era. And it became the last day of the ancient Roman city of Pompeii.
We know about him with the words of the Roman politician and the writer Guy Plane Cecilia second, more famous in history, like Plina Jr.. In letters to the historian, I will publish Cornelia Tacitis, he described the eruption:
The cloud in its form was like having: Up rose as if the trunk, and from him in all directions they died as if branches. In places it was bright white, places in dirty stains, as if from the ground and the ashes raised up.
But few in the world reads "letters to Tacitis." And yet, about the eruption of Vesuviya in 79 knows anyone who studied at school. Helped ... art.
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 the hail ...
The picture described by Pushkin, saw everyone and not once - in the State Russian Museum or on Reproductions. This, according to Gogol, "Light Resurrection of Painting" - "Last Day Pompeii". Alexander Bullelov visited the excavations of the city filled with ashes and with the permission of the Neapolitan king made sketches and measurements. And prompted Brother Karl plot.
And others say that the majestic panorama of Vesuviya Karl Pavlovich Brullov saw Sorrento from the Peninsula. And the idea caught fire to write his eruption. The Russian artist and historian of art Alexander Benua considered otherwise: the design of the painting was born in Bryullov under the influence of the Opera of the Italian composer Giovanni Pachin. I will not forget about the customer, especially since this is the famous prince of San Donato from the Russian family of Demidov - the patron, researcher and benefactor.
But be that as it may, thanks to Karl Bullet with the support of Anatoly Demidov, we will see the tragedy of Pompeii - a small, but rich southern resort with two theaters and thirty-five brothels. The tragedy of the carelessness of dancing on the volcano: In 62, strong underground shocks warned Pompeii about the ambulance disaster. But the townspeople remained deaf, and restored the destroyed city.
The nature of Headless did not forgive. August 24, 79, on the usual summer sunny day, Vesuvius spoke. And he spoke almost a day, covering the multi-meter strata of the street of the street, at home with all the situation and two thousand people from the twenty thousandth population of the city. The rest were escaping: this run from death and depicted Bryullov.
The situation is exposed by the characters. Thoughtful sons bring out of the gentle father from hell. Mother covers children. The desperate young man, gathering with the last forces, does not produce a precious cargo from the hands - the bride. And the handsome man in a white horse hurries away alone: \u200b\u200brather, it is more likely to save yourself, a loved one. Vesuvius mercilessly demonstrates to people not only their subsidiary, but also their own. Thirty-year-old Karl Bromlov understood it perfectly. And showed us.
"And there was a" last day Pompeii "for Russian brush first day" , - Lycanic Poet Evgeny Bratsynsky. Trulya: the picture is triumphantly met in Rome, where he wrote it, and then in Russia, and Sir Walter Scott somewhat highly called the picture "unusual, epic".
And there was a success. And paintings and masters. And in the autumn of 1833 the picture appeared at the exhibition in Milan and Triumph Carl Bullov reached his highest point. The name of the Russian master immediately became famous on the entire Italy Peninsula - from one end to another. In Italian newspapers and magazines, enthusiastic reviews about the "last day Pompeii" and his author were printed. Bryullov 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.
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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 him. 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 Check yourself: Go online test
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 Russia, then there was only one painter who enjoyed broadly fame, Bryullov" - Herzen A.I. About art.
In the first century, our era there was a series of eruptions of Vesuvius volcano, which were accompanied by an earthquake. They destroyed several blooming cities that were located close to the foot of the mountain. Pompei city did not become every two days - in August, 79, he was completely filled with volcanic ash. It turned out to be buried under the sememetrous thickness of the ash. It seemed that the city was hiding from the face of the earth. However, in 1748, archaeologists were able to spread it, repaid a veins of a terrible tragedy. The last day of the ancient city was devoted to the picture of the Russian artist Karl Bryullov.
"Last Day Pompeii" - the most famous canvas of Karl Bryullov. The masterpiece was created for a long six years - from the idea and the first sketch to a full-fledged canvase. None of the Russian artist had such success in Europe, as a young 34-bagent Brohlov, followed by a symbolic nickname very quickly - "Great Karl", - which corresponded to the scale of his six-year long-suffering brainchild - the size of the canvas reached 30 square meters (!). It is noteworthy that the canvas itself was written in just 11 months, everything else went to the preparatory work.
"Italian Morning", 1823; Kunsthalla, Kiel, Germany
In the success of a promising and talented artist, the Western colleagues on the craft believed with difficulty. In arrogant Italians, overlooking Italian painting over the whole world, believed the young and promising Russian painter not capable of something more, something large and large-scale. And this is despite the fact that the paintings of the bullov in a certain extent were already known long before the "Pompeii". So, for example, the famous canvas "Italian Morning", written by Bryrylov after arriving in Italy in 1823. The picture brought the fame of Bhorlylov, having received a flattering reviews at the Italian public, then from the members of the Society for the promotion of artists. OPH presented a picture "Italian Morning" Alexander Fedorovna, wife Nikolai I. The emperor wanted to get a pair to the "morning" picture that served as the beginning of writing the Bullet Pictures "Italian Noon" (1827).
Girl collecting grapes in the vicinity of Naples. 1827; State Russian Museum, St. Petersburg And the picture "The girl, collecting grapes in the vicinity of Naples" (1827), who sinks the driving and cheerful character of Italian girls from the people. And the noisily revealed copy of the frescoes of Raphael - "Athens School" (1824-1828) - now she decorates the hall of the copies in the building of the St. Petersburg Academy of Arts. Bullelov was independent and famous in Italy and in Europe, he has many orders - barely not everyone traveling to Rome strives to bring the portrait of Bhorlylovskaya work from there ...
And yet, the artist did not really believe, and sometimes they mumbled at all. Especially he was particularly created by Cavalochchini, who was considered the first Italian painter at that time. Considering the sketches of the future masterpiece Bryullov, he concludes that "the topic requires a huge web, but on a huge canvase, it will be good that is in sketches; Karl thinks in small canvas ... Little Russian writes small pictures ... A colossal work on the shoulder to someone more larger! " Bullels were not offended, only smiled - angry and angry with the old man would be absurd. In addition, the words of the Italian master breathed a young and ambitious Russian genius in a striving once and forever to conquer Europe, and in particular the smug Italians.
With his characteristic fanaticism, he continues to develop the plot of his main painting, which, as he believes, will undoubtedly glorify his name.
There are at least two versions of how the idea of \u200b\u200bwriting "Pompeii" was originated. Informal version - Bullelov, affected by the view in Rome enchanting opera Giovanni Pacini "Last Day Pompeii", coming home, immediately sketched a sketch of the future picture.
According to another version, the idea of \u200b\u200brestoring the plot of "death" has come due to the excavations of archaeologists, discovered buried and littered with volcanic ashes, stone fragments and a lava city in 79. Almost 18 centuries, the city lay under the asian of Vesuvius. And when it was excavated, at home, statues, fountains, Pompei streets appeared before the gaze of amazed Italians ...
In the excavations, the elder brother Karl Bryullov - Alexander, who studied the ruins of the ancient city since 1824, was also involved. For the project of the restoration of Pompeary Term, he received the title of architect His Majesty, a corresponding member of the French Institute, a member of the Royal Institute of Architects in England and the title of members of the Academies of Arts in Milan and St. Petersburg ...
Alexander Pavlovich Brullov, Self-portrait of 1830 By the way, in mid-March 1828, when the artist was in Rome, Vesuvius suddenly shook down her stronger than the usual, five days later he threw away the high column of ash and smoke, dark red streams of Lava, splashing out of the crater, flowed down the slopes, heard a formidable hum, Window glass shrewd in Naples. Rumors about the eruption immediately to Rome, everyone who could rushed to Naples - to look at the amazing spectacle. Karl could not easily mined a place in a carriage, where, besides him, five more passengers were crowded, and could consider himself as a lucky one. But while the carriage overcame long 240 km from Rome to Naples, Vesuvius stopped smoking and tricked ... This fact was very upset by the artist, because he could witness a similar catastrophe, see the horror and atrocity of the angry Vesuviya with his own eyes.
Work and triumph
So, deciding with the plot, the meticulous Bullov began to collect historical material. In an effort to the greatest reliability of the image, Brulylov studied excavation materials and historical documents. He said that all things that were depicted, taken from the museum that he follows archaeologists - "current antiquary", which, until the last smear, he cared to be "closer to the authenticity of the incident."
The remains of the people of Pompeii city, our days. He and the place of action showed on the canvas quite accurately: "I took the scenery of this all from nature, without retreating at all and not adding"; At that place, which fell into the picture, there were bracelets, rings, earrings, necklaces and charred belts were found during the excavations. But the thought of the picture is much higher and much deeper than the desire to reconstruct an event that happened seventeen and a half centuries ago. The tomb of the Spawling Tomb, the Skeleton of Mother and Daughters, before the death of embraced each other, the burnt Wheel of the wagon, stool, vase, lamp, bracelet - all this was the limit of reliability ...
As soon as the canvas was completed, the Roman workshop of Karl Bryullov underwent a real siege. "... wonderful moments survived, writing this picture! And as now I see the ardent of the masted elder camucher. A few days after the whole Rome glanced to look at my picture, he came to me in the workshop on Via San Clawdio and, having stood a few minutes before the picture, hugged me and said: "Hug me, Colossus!"
The picture was exhibited in Rome, then in Milan, and everywhere the enthusiastic Italians tremble in front of "Great Carl."
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. With the era of the Renaissance, no artist was in Italy the object of such universal worship as Karl Bryullov.
Bryullov Karl Pavlovich, 1836 - Vasily Tropinin The painting "Last Day Pompeii" introduced Europe with a mighty Russian brush and Russian nature, which is capable of in every field of art to achieve almost inaccessible heights.
The enthusiasm and the patriotic rise, with which the picture met in St. Petersburg is difficult to imagine: Thanks to Brylov, Russian painting has ceased to be a truly student of the great Italians and created a work that admire Europe!
The picture was presented by the Metsenger Demidov Nikolai I, who briefly placed it in the Imperial Hermitage, and then presented the Academy of Arts. According to the memoirs of the contemporary, the "crowd of visitors can be said, broke into the halls of the Academy to look at the" Pompei "." He talked about masterpiece in the salons, shared opinions in private correspondence, made notes in diaries. The honorary nickname "Karl Great" was established for the Bruner.
Pushkin wrote under the impression of Pushkin's picture:
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.
Gogol devoted a remarkably deep article, and Evgeny Baratsky's poet, and the poet of Evgeny Baratsky expressed universal education in the famous expression:
"You brought peaceful trophies
With you in the father
And became the "Last Day Pompeii"
For Russian brush first day! "
Facts, secrets and riddles painting "Last Day Pompeii"
Place pictures
Pompei's discovery was made in 1748. It is since then that a month after the month, continuously the leading excavations opened the city. Pompeiu left an indelible mark in the soul of Karl Bryullov already at the first visit to the city in 1827.
"I specifically forced me to move me at a time when these walls were still inhabited ... You can not pass these ruins, without feeling in yourself some completely new feeling that makes everyone forget, except the terrible incident with the SIM city."
"I took the decoration of this all from nature, not retreating at all and not adding, standing towards the city gate back to see the part of Vesuvia as the main reason," Bullel shared in one of the letters.
"Tomb Street" Pompeii We are talking about the Herculant gate of Pompey (Porto Di Ercolano), which, already beyond the city, began "Tomb Street" (Via Dei Sepolcri) - a cemetery with lush tips and temples. This part of Pompey was in the 1820s. It is already well cleared, which allowed the painter with the maximum accuracy to reconstruct the architecture on the canvas.
But the place itself, which was exactly matched with the picture of Karl Bryullov.
Photo Picture details
Recreation of the painting of eruption, Bryullov followed the famous Pole messages of the younger to Tacitis.
Young Pliny survived the eruption in the marine port of Mizeno to the north of Pompey and described in detail what it seemed to move from their places, widely blurred on a volcanic cone Flames falling from the sky Hot pieces of pembes, heavy rain from the ashes, black impenetrable darkness , Fiery zigzags like giant lightning ... And all this brulls suffered on canvas.
Seismologists are amazed at what convincing it depicted an earthquake: looking at the collapsing at home, you can determine the direction and force of an underground push (8 points). Volcanologists note that Vesuviya's eruption is written with all the accuracy for that time. Historians argue that in the picture of Bryullov, an ancient Roman culture can be studied.
The way to restore the death poses of the dead, pouring the gypsum into the voids formed from the bodies, was invented only in 1870, but also during the creation of the picture, the skeletons found in the petrified aspect testified about the latest convulsions and gestures of the victims.
Mother hugging two daughters; A young woman, to death crashed during a fall from a chariot that covered the cobblestone, turned out to earthquake from the pavement; People on the steps of the tomb of the skament, protecting the heads from the stonepad to herbal and dishes, are all this is not the fruit of the painter fancy, but the artistic recreated reality.
Self-portrait in the picture
On canvas we see characters endowed with portrait traits of the author and his beloved, Countess Yulia Samoilova. Bullov portrayed himself by an artist carrying a box with brushes and paints on his head.
Self-portrait, as well as a girl with a vessel on the head - Julia Beautiful features of Julia are recognized in the picture four times: a mother embracing daughters, a woman pressed to the chest of a baby, a girl with a vessel on the head, a noble pomp, fallen with a broken chariot.
Self-portrait and portraits of the girlfriend - aware of the "effect of presence", making the viewer as part of what is happening.
"Just picture"
It is known such a fact that in Wednesday's students of Karl Bryullov, his cloth "Last Day Pompeii" had a pretty simple name - just "picture". This means that for all students, this canvas was just a picture with a capital letter, picture of paintings. You can give an example: how the Bible is a book of all books, the word Bible as if it means the word book.
Walter Scott: "This is the epic!"
Appeared in Rome Walter Scott, whose fame was so huge that he sometimes seemed to be a mythical being. The novelist was high in growth, the addition was strong. His red-friendly face of a peasant with a rare light hair was brought to the forehead, but everyone knew that Sir Walter Scott did not recover from the apoplexic strike and came to Italy on the advice of doctors. Sober man, he understood that the days were considered, and spent time only for what he considered particularly important. In Rome, he asked him to take him only to one old castle, which I needed it for some reason, to Torvaldsen and to Brylov. Walter Scott promoted in front of the picture for several hours, almost motionless, was silent for a long time, and Bryullov, no longer a tea to hear his voice, took a brush, so as not to waste time, and became someone to touch the canvas. Finally, Walter Scott rose, slightly falling on his right foot, went to the Brojlov, caught both his hands in his huge palm and squeezed them tightly:
I expected to see a historic novel. But you created a lot more. This is the epic ...
Biblical plot
In various manifestations of classical art, tragic scenes were very often depicted. For example, the destruction of Sodom or Egyptian executions. But in such biblical stories it was meant that the execution is over, here it was possible to see the manifestation of God's fishery. As if the biblical story would know not meaningless rock, but only the wrath of God. In the pictures of Karl Bryullov, people were in the mercy of the blind natural elements, rock. There can be no reasoning about wine and punishment.. In the picture you will not be able to find the main character. It's just not there. We only appear the crowd, the people who were embraced by fear.
Pompei's perception as a vicious, mired in the sins of the city, and its destruction as a divine kara could be based on some finds that appeared as a result of excavations - these are erotic frescoes in ancient Roman homes, equal to similar sculptures, phallic amulets, suspension, and so on. Publication of these artifacts in the NTiChita Di Ercolano edition released by the Italian Academy and re-delivered in other countries between 1771 and 1780 caused a cultural shock reaction - against the background of Winkelman's postulate on the "noble simplicity and calm magnitude" of ancient art. That is why the audience of the beginning of the XIX century could associate the eruption of Vesuvius with biblical car painted on the wicked cities of Sodom and Gomorra.
Accurate calculations
Vesuvius eruption 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.
Burning and removal of Vesuvius, 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 celebrated this picturesque effect that the artist wanted to reach, and pointed out: "The artist ordinary, of course, would not fail to take advantage of the Vesuvius eruption in order 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 On the back plan is a reddish half. "
At the limit of possibilities
He wrote at this limit of spiritual tension, which happened, he was literally handed over to his arms from the workshop. However, even shameless health does not stop his work.
Newlyweds
Newlyweds In an ancient Roman tradition, the wreaths of colors were decorated with newlywed heads. From the head of the girl fell Flammy - the traditional bedspreads of the ancient Roman bride from fine yellow-orange fabric.
Falling Rome
In the center of the painting lies on the pavement young woman, and unnecessary, crumbled on the stones of her jewelry. Next to her cries from the fear of a small child. Beautiful, beautiful woman, the classic beauty of draperies and gold seems to symbolize the sophisticated culture of an ancient Rome, who dares in our eyes. The artist acts not only as an artist, master of composition and color, but also as a philosopher, in visible images, reasoning about the death of the Great Culture.
Woman with daughters
According to Bryullov, one female and two children's skeletons, covered in these poses with volcanic ash, he saw on excavations. Mother with two daughters could have been associated by the artist with Julia Samoylova, who, without having his own children, took on the upbringing of two girls, relatives of friends. By the way, the father of younger of them, composer Giovanni Pacini, in 1825 he wrote Opera "Last Day Pompeii", and fashionable production was one of the sources of inspiration for Bryullov.
Christian priest
In the first century of Christianity in Pompeii, a minister of the new faith could be in the pompey, it was easy to find out in the picture on the cross, the liturgical utensils - Kadil and the Poll - and the Scroll with the Sacred Text. Wearing a native and inadequate crosses in the first century is not confirmed by archaeologically. The amazing admission of the artist is a courageous figure of a Christian priest who does not know doubt and fear is opposed to running away in the fear of the pagan priest in the depths of the canvas.
a priest
The character status indicates the objects of the cult in his hands and the headband - inforal. Contemporaries reproached Bryullov that he did not bring to the fore the opposition of Christianity to paganism, but the artist did not have such a goal.
Contrary to canons
Brullov wrote almost everything was not supposed to. Each big artist violates the existing rules. In those days, they tried to imitate the creations of old masters, who were able to show the perfect beauty of the person. This is called "Classicism". Therefore, Bryrytov has no distorted persons, crops or confusion. He is not at all such a crowd as on the street. There is nothing accidental here, and the heroes are divided into groups so that everyone can consider each. And that's what's interesting - faces in the picture are similar, and poses are different. The main thing for the bullov, as well as for ancient sculptors, is to convey the human sense of movement. This difficult art is called "plastic". Bryullov did not want to disfigure the faces of people, their bodies are neither wounds or mud. Such a reception in art is called "convention": the artist refuses to external likelihood in the name of a high goal: a person is the finest creation on Earth.
Pushkin and Brylov
A big event in the life of the artist was his meeting and a fabriced friendship with Pushkin. They immediately agreed and loved each other. In a letter to his wife dated May 4, 1836, the poet writes:
"... I really want to bring Bryullov to Petersburg. And he is a real artist, kind small, and ready for everything. Here Perovsky was flooded with him, transported to himself, locked turnkey and forced to work. Brulylov Nasil died from him. "
"Brulylov is now from me. Rides in St. Petersburg fastening the heart, climate and captivity is afraid. I try to console him and encourage; Meanwhile, I have the soul in my heel goes, as I remember that I am a journalist. "
There was no month from the date of the parcel of Pushkin letters about the departure of Bryullov to St. Petersburg, as in the premises of the Academy of Arts on June 11, 1836, dinner was given in honor of the famous painter. Maybe it was not worth a particularly celebrating this not a wonderful date, June 11th! But the fact is that by the strange coincidence of the circumstances, on June 11, after fourteen years, Bullov will come essentially to die in Rome ... the patient who was aged.
Celebration of Russia
Karl Pavlovich Brullov. Artist Zavyalov F.S. At the Louvre Exhibition of 1834, where the "Last Day Pompeii" was shown, next to the picture of Bryullov hung the canvas of Engra and Delacroix, adherents "notorious ancient beauty". Critics are a friendly brullov. For some of his painting was late for twenty years, others found in it an excessive courage of imagination, destroying the unity of the style. But there were third - viewers: the Parisians crowded with the clock before the "last day of Pompeii" and admired them as together as Romans. A rare case - a common opinion won the judgments of "notebook critics" (as they were called newspapers and magazines): The jury did not risen to please the "notebook", - Bullov received a gold medal of first dignity. Russia celebrated.
"Professor out of turn"
Council of the Academy, noting that the Painting of Bryullov has an indisputable greatest advantages that make it the number of extraordinary artistic creations in Europe, asked for the permission of His Majesty to build a famous painter in the professor's title out of turn. Two months later, the Minister of the Imperial Court notified the President of the Academy, that the sovereign did not give any permissions and ordered the statute. At the same time, wanting to identify a new sign of the all-consignable attention to the talent of this artist, His Majesty granted Bryullov Kavaler of the Order of St. Anna 3rd degree.
Sizes of the canvas
Almost 2,000 years ago, the eruption of the Vesuvius volcano destroyed several ancient Roman settlements, including the cities of Pompei and Herculaneum. Futurist presents the chronicle of events on August 24-25, 79 AD
Ancient Roman writer and lawyer Polynia Jr. told that it happened in the seventh hour after sunrise (about half a day) on August 24. His mother pointed out his uncle, a senior slay, on the cloud of unusual sizes and shape, which emerged at the top of the mountain. Pliny Elder, who at that time was a commander of the Roman fleet, went to Mizena to watch the rare phenomenon of nature. Over the next two days, 16 thousand residents of Roman settlements of Pompeii, Herculaneum and Staby died: their bodies were buried under the layer of ashes, stones and pembassades, who chosen by the swirling volcano Vesuvius.
Plowing bodies found during excavations are now exhibited inside the term Stabian on the archaeological site in the pompes
Since then, interest in Pompeyamam does not fuss: Modern researchers draw digital maps of a destroyed city and go to archaeological expeditions to show us the daily lives of people who have fallen from the foot of the volcano.
Pole letters younger to historian Tacitis, the results of excavations and volcanological evidence allow scientists to reconstruct the eruption schedule.
Ruins Pompey on the background of Vesuvia
12:02 Mother Plysta speaks his uncle to the senior, about a strange cloud, which arose over Vesuvi. Before that, a few days the city was shaken by underground shocks, although it was uncharacteristic for the campaign area. Pliny younger will describe this phenomenon as:
"A huge black cloud quickly moved ... From it, it was still a long, fantastic flames, reminiscent of lightning outbreaks, only much big" ...
The wind is transferred most of the ashes in the south-east. Begins the "plynian phase" of eruption.
13:00 East of the volcano ash starts to fall. Pompeiy is just in six miles from Vesuvia.
14:00 At Pompeii, the ashes first, and then a white pemp. The layer of volcanic precipitation covered with the Earth grows at a speed of 10-15 cm per hour. Ultimately, the thickness of the pumice layer will be 280 cm.
The last day of Pompeii, the picture of Karl Pavlovich Bryullov, written in 1830-1833.
17:00 Under the mass of volcanic precipitations in the pompses, roofs are collapsed. Stones with a fist size rolls on a city at a speed of 50 m / c. The sun crashed as an ash peeve, and people are looking for refuge in the pitch darkness. Many are in a hurry to the harbor Pompey. In the evening there comes a turn of gray pumice.
23:15 The "Pelian eruption" begins, the first wave of which hit Herculaneum, boscorely and flalude.
00:00 The 14-kilometer column of ash rose to 33 km. Pumice and ash are included in the stratosphere. Over the next seven hours, six pyroclastic waves (saturated with gases, the flow of ashes, pumice and lava) will form the area. People are overtaken death everywhere. This is how the volcanologist Juseppe Mastrolorenzo for National Geographic describes this night for National Geographic:
"The temperature on the street and indoors rose to 300 ° C. This is more than enough to kill hundreds of people for a split second. When the pyroclastic wave was overwhelmed by Pompeii, people did not have time to suffocate. Distorted poses of bodies of victims - this is not a consequence of long-term agony, this spasm from heat shock has already bent the dead limbs "