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Bryullov (Bryullo), Karl Pavlovich

1799–1852


Painter, aquarellist and graphic artist. Master of historical painting, portraitist, landscape and genre painter. He was a son of Academician in ornamental sculpture P.I.Bryullov. From 1809-1822 he was a student at the Academy of Arts. His teachers were A.I.Ivanov, A.Ye.Yegorov, V.K.Shebuyev. From 1822 until 1834 as a pensioner from the Society for the Encouragement of Artists he lived and worked in Italy, where he painted the famous canvas "The Last Day of Pompeii" (1830-1833, The State Russian Museum, St.Petersburg), which won the Grand Prix in Paris. At the same time a series of portraits was made, including the painting "Lady on Horseback" (1832), which brought him great fame. In 1835 he set out on a journey round Greece and Turkey, during which he drew a series of graphic works. In the sanme year he returned to Russia, and until 1836 he lived in Moscow, where he became acquainted with A.S.Pushkin. He then moved to St.Petersburg. Between 1836-1849 he worked as a teacher at the Academy of Arts. He painted several portraits of artists, including N.V.Kukolnik (1836), I.P.Vitali (1837) and I.A.Krylov (1839). He was on friendly terms with M.I.Glinka and N.V.Kukolnik. From 1843-1847 he painted murals for the Kazansky and Issakiyevsky Cathedrals in St.Petersburg (they were later completed by P.V.Basin). Due to illness he left for the Island of Madeira in 1849. During his stay on the island he painted many water colour portraits of his friends and acquaintances ("Riders. Portrait of E.I.Mussard and E.Mussard", 1849). From 1850 he lived in Italy. He was a member of the Milan and Parma Academies and the Academy of St Lucas in Rome. Bryullov’s work was the height of late Russian romanticism. When feelings of harmonious integrity and world beauty give way to tragedy and conflict in life, with interest in life's passions, unusual themes and situations. The historic painting again becomes in mode, but its central theme is not the struggle of protagonists, as in classicism, but the fate of the vast mass. In his central painting "The Last Day of Pompeii" (1830-1833, The State Russian Museum, St.Petersburg) Bryullov combined the dramatic tension of the subject with the romantic effect of light and sculptural plasticity in the figures, which are classically perfect. The painting received high praise by society and connoisseurs not only in Russia, but across in Europe. The prominent master of the ceremonial and chamber portrait, Bryullov came a long way in his work. His paintings underwent a considerable evolution, typical of the romantic era, from the joyful acceptance of life in his early canvases ("The Rider", 1832) to the complicated psychology in his later work ("Self-Portrait", 1848), anticipating the achievements late 19th century artists, such as I.E.Repin ("Portrait of M.P.Mussorgsky", 1881). Bryullov influenced many great Russian artists, among whom were many his successors and imitators.
Portrait of the Actor A.N.Ramazanov

1821-1822
oil on canvas
64,5 x 52,5
at 10, Lavrushinsky Lane, Hall 9

Portrait of P.A.Kikina

1821-1822
oil on canvas
82 x 71
at 10, Lavrushinsky Lane, Hall 9

Pilgrims at the Doors of Basilica of San Giovanni in Laterano

1825
oil on canvas
62,7 x 53,6
at 10, Lavrushinsky Lane, Hall 9

The Last Day of Pompeii

1827-1828
oil on canvas, italian pencil
58 x 76
at 10, Lavrushinsky Lane, Hall 9

Portrait of Grate Duchess Elena Pavlovna

1829
oil on canvas
73,4 x 59; (oval)
at 10, Lavrushinsky Lane, Hall 9

Italian Midday

1831 (?)
oil on canvas
27 x 22
at 10, Lavrushinsky Lane, Hall 9

A Rider

1832
oil on canvas
291.5 õ 206
at 10, Lavrushinsky Lane, Hall 9

Bathsheba

1832
oil on canvas
173 õ 125,5
at 10, Lavrushinsky Lane, Hall 9

Portrait of O.I.Orlova-Davydova with her Daughter

1834
oil on canvas
195 x 126
at 10, Lavrushinsky Lane, Hall 9

Portrait of a lower F. Askani

1834
oil on wood
55,4 x 46
at 10, Lavrushinsky Lane, Hall 9

Near the Oak of the Virgin

1835
oil on canvas
61 x 74
at 10, Lavrushinsky Lane, Hall 9

Genseric's Invasion of Rome

1835-1836
oil on canvas
88 x 117,9
at 10, Lavrushinsky Lane, Hall 9

Portrait of E.I.Durnova

1836
oil on canvas
71,5 x 62
at 10, Lavrushinsky Lane, Hall 9

Portrait of the Sculptor I.P.Vitali

1836-1837
oil on canvas
94,2 x 76,3
at 10, Lavrushinsky Lane, Hall 9

Turkish Woman

1837-1839
oil on canvas
66,2 x 79,8
at 10, Lavrushinsky Lane, Hall 9

Portrait of M.I.Alexeeva

1837-1840
oil on canvas
92 x 73; (oval)
at 10, Lavrushinsky Lane, Hall 9

Portrait of O.P.Ferzen

1838
oil on canvas (oval)
68 x 55
at 10, Lavrushinsky Lane, Hall 9

Male portrait

1838
oil on canvas
88,7 x 71
at 10, Lavrushinsky Lane, Hall 9

Portrait of I.A.Krylov

1839
oil on canvas
102,3 x 86,2
at 10, Lavrushinsky Lane, Hall 9

Siege of Pskov by Polish King Stefan Batoriy (Istvan Bathory) in 1581

1839–1843
oil on canvas
482 õ 675
at 10, Lavrushinsky Lane, Hall 9

Portrait of A.N.Golitsyn

1840
oil on canvas
194,5 x 142
at 10, Lavrushinsky Lane, Hall 9

Portrait of Maria Bek with Her Daughter

1840
oil on canvas
246,5 õ 193,5
at 10, Lavrushinsky Lane, Hall 9

Portrait of A.N. Strugovshchikov

1840
oil on canvas
80 õ 66.4
at 10, Lavrushinsky Lane, Hall 9

Portrait of I.A.Monigetty

1840
oil on canvas
49,5 x 42,5
at 10, Lavrushinsky Lane, Hall 9

Portrait of M.A.Obolensky

1840-1846
oil on canvas
123,7 x 106,7
at 10, Lavrushinsky Lane, Hall 9

Portrait of the Painter Ya.F.Yanenko in Armour

1841
oil on canvas
58 x 49,2
at 10, Lavrushinsky Lane, Hall 9

Portrait of K.I.Yanish

1841
oil on canvas
67 x 57,7
at 10, Lavrushinsky Lane, Hall 9

Portrait of Volkonsky's children and a moor

1843
oil on canvas
146,1 x 124,1
at 10, Lavrushinsky Lane, Hall 9

An Outing in a Carriage

1845-1846
oil on canvas
42,5 x 52,6
at 10, Lavrushinsky Lane, Hall 8

Self portrait

1848
oil on canvas
64,1 õ 54 (top – semi-oval)
at 10, Lavrushinsky Lane, Hall 9

View of Fort Picu on the island of Madeira

1849–1850
oil on canvas
65 õ 77

Portrait of Mikelandzhelo Lanchi

1851
oil on canvas
61,8 õ 49,5
at 10, Lavrushinsky Lane, Hall 9