Picture style Last day Pompeii. The last day of Pompeii

The city was discovered completely by chance at the end of the XVI century in the production of earthworks.

Karl Bromlov. The last day of Pompeii. 1830-1833

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

And in 1827 a young Russian artist Karl Brullov arrives in Pompeii. Seen stuck it there. And this picture is most likely there is a result of that trip.

Before starting drawing a picture, Bullels begins to study historical sources. He reads the letters of a witness of the events of Plinia Jr. to the Roman historian Tacitis. In search of reliability, the artist addresses the materials of archaeological excavations, some figures will be depicted in those poses, in which the skeletons of Vesuviya victims were found in hardened lava.

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

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

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

In the fall of 1833, the picture appeared at the exhibition in Milan and caused an explosion of delight and worship. An even greater triumph was expecting Bryullov in his homeland. Exhibited in the Hermitage, and then at the Academy of Arts, the picture became the subject of patriotic pride. Her enthusiastically welcomed A.S. Pushkin:
Vesuvius Zev opened - smoke poured the club - Flame
Widely developed as a combat banner.
The Earth is worried - with a shitful columns
Idols fall! People persecuted by fear
Crowds, old and young, under inflamed rush,
Under the stone rain runs out of the grade.

Bryullov compared with the Great Italian masters. Poets devoted poems to him. He was welcomed by applause on the street and in the theater. A year later, the French Academy of Arts awarded the artist for the picture Gold Medal after her participation in the Paris Salon.

"And there was a" last day Pompeii "for Russian brush the first day," wrote the poet Yevgeny Bratsynsky. And indeed, the picture was triumphantly met in Rome, where Brullov wrote it, and then in Russia, and Sir Walter Scott somewhat highly called the picture "Unusual, Epic". And Nikolai I honored the artist with a personal audience and awarded Karl Lavrov Wreath, after this artist called "Karl Great."

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

L. Osipova

Alexander Bryullov. Self-portrait. 1830.

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

Karl Bromlov. Self-portrait. OK. 1833.

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


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

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

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

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

Four for more than a year, Karl Bryullov lived in Italy, before in 1827 he got to Pompeev. At that time he was looking for a plot for a big painting on a historical theme. Seen struck the artist. For six years he has gone to collect material and write an epic cloth with an area of \u200b\u200balmost 30 m 2.

People of different floors and age, classes and faith are sworn in the picture. However, in a motley crowd you can see four identical faces ...

In the same 1827, Bullelov met a woman of his life - countess Julia Samoilov. Running with her husband, a young aristocrat, former Freillus, who loved the bohemian lifestyle, moved to Italy, where the morals are more likely. And at the Countess, and the artist had a dealer's reputation. Their relationship remained free, but long, and friendship continued to the death of Bryullov. "There was nothing about the rules between me and Carl.", "His brother Alexandru later wrote him.

Julia with its Mediterranean appearance (rumors that the Father Women - the Italian Count Litta, stepfather her mother) was an ideal for the bullov, besides as if created for an ancient plot. The artist wrote several portraits of the Countess and "presented" her face to four heroines of the painting, which became the most famous creation. In the "last day of Pompeii", Bhorlov wanted to show the beauty of a person even in a desperate situation, and Julia Samoilov was a perfect model of this beauty in the real world.

1 Julia Samoilova. Erich Goltlers researcher noted that the heroine of the "last day Pompeii", despite the social differences, look like a representative of one big family, as if disaster brought together and equalized all citizens.

2 street. "Siah's decoration took from nature, not retreating at all and not adding, standing to the city gate back, to see part of Vesuvia as the main reason."- explained Bullels in a letter to brother choosing a place of action. This is a suburb, the so-called Tomb road leading from the Herculanum gates of Pompeev to Naapol. Here were the tomb of noble citizens and temples. Buildings The artist sketched on excavations.

3 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.

4 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.

5 pagan 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.

8 artist. Judging by the number of frescoes on the walls of Pompeev, the painter's profession was in demand in the city. As an ancient painter running next to the girl with the appearance of the Countess Yulia, Bryullov depicted himself - so often did the Masters of the Renaissance, whose creativity he studied in Italy.

9 Woman Falling from Chariot. According to the art historian Galina, Leonteva, lying on the pavement pompiyanka symbolizes the death of the ancient world, according to which artists of classicism wounded.

10 thingsFallen from the box, like other items and decorations in the picture, copied by the Bronze and Silver Mirrors found by archaeologists, keys, filled with olive oil, VAZ, bracelets and necklaces, belonging to residents of Pompeev I century n. e.

11 warrior and boy. According to the artist's plan, these are two brothers, saving the patient of the old father.

12 Plines younger. Ancient Roman prose, who became an eyewitness of Vesuviya eruption, described it in detail him in two letters to the historian Tacitis.

13 Mother Mother Junior. Bryullov placed a scene with a pole on the canvas "as an example of children's and maternal love", despite the fact that disaster was inspired by the writer and his family in another city - Mizena (about 25 km from Vesuvia and about 30 km from Pompeev). Pliny recalled how they were chosen from Mizen in the midst of an earthquake, and a cloud of volcanic ash was put on the city. An elderly woman was difficult to run, and she, not wanting to cause the death of the 18-year-old son, persuaded to leave her. "I replied that I would be suited only with her; I take her at hand and forcing the step to add ", - told Pliny. Both survived.

14 Schegol. During the eruption of the bird volcano died on the fly.

15 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.

16 Tomb of Scowls. Building from the roads of the tomb, the rest of the resistance of Avla Umbilia of the Junior Skaver. The tomb of the ancient Romans was usually built beyond the city's feature on both sides of the road. Skavr Jr. during his lifetime held the position of Duumvira, that is, stood at the head of the city government, and the monument on the forum even honored for merit. This citizen was the son of a rich merchant fish sauce Garum (Pompeii was famous for them throughout the empire).

17 Building destruction. Seismologists in the nature of the destruction of the buildings depicted in the picture, determined the intensity of the earthquake "on the BULLOV" - eight points.

18 Vesuviy. An eruption that happened on August 24-25, 79 years. E., ruined several cities of the Roman Empire, located at the foot of the volcano. Of the 20-30 thousand residents of Pompeiyev did not save about two thousand, judging by the found remains.

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 an 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

The last day of Pompeii

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

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

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

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

8th grade. 6th grade. 4th grade

• Writing on the picture Lemoha Grandmother and granddaughter

  In front of me there is simply a stunning picture of Cyril Vikentyevich Lemoha, a talented Russian painter of the 19th century, which is called "Grandmother and Granddaughter." It was written by oil paints, in sufficient dark colors.

• Essay by Picture Scherbakov Rus Moscow region (description)

  The picture of the Russian painter Shcherbakov "Rus Moscow region" is one of the most famous works. She is, simple and at the same time accurately reflects the spirit of his people.

• Levitan I.I.

  Levitan Isaac Ilyich is a famous Russian artist, a member of the Movie Company. He became famous for writing landscapes. Born in 1860 in Lithuania. In the 1870s, Levitan family moves to Moscow.

• Essay in the picture of the Nissky February Moscow region, grade 5 (description)

  Beautiful forests in white decoration, mountains with avalanche descent, rivers frozen, filler meadows under the snow. But in its beautiful winter in the vicinity of the city.

• Writing on the picture Perova Polyovnik (description)

  Painting the pigeon, written in 1874 by an excellent artist Vasily Grigorievich Pepov - a real work of Russian art.