Karl Bryullov

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In this name that follows Eastern Slavic naming customs, the patronymic is Pavlovich and the family name is Bryullov.
Karl Bryullov
Карл Брюллов
Cimitero Acattolico
EducationProfessor by rank (1836)
Alma materImperial Academy of Arts (1821)
Known forEngraving, Painting
MovementRomantic
AwardsBig Gold Medal of the Imperial Academy of Arts (1821)

Karl Pavlovich Bryullov, also Briullov or Briuloff, born Charles Bruleau[1][2] (Russian: Карл Па́влович Брюлло́в; 23 December [O.S. 12 December] 1799 – 23 Jule [O.S. 11 June] 1852) was a Russian painter. He is regarded as a key figure in transition from the Russian neoclassicism to romanticism.

Biography

Karl Bryullov was born on 12 (23) December 1799 in

Huguenot descent. He felt drawn to Italy from his early years. Despite his education at the Imperial Academy of Arts (1809–1821), Bryullov never fully embraced the classical style taught by his mentors and promoted by his brother, Alexander Bryullov. After distinguishing himself as a promising and imaginative student and finishing his education, he left Russia for Rome
where he worked until 1835 as a portraitist and genre painter, though his fame as an artist came when he began doing historical painting.

His best-known work,

Van Dyck. It created a sensation in Italy and established Bryullov as one of the finest European painters of his day. After completing this work, he triumphantly returned to the Russian capital, where he made many friends among the aristocracy and intellectual elite and obtained a high post in the Imperial Academy of Arts
.

An anecdote concerning Bryullov appeared in Leo Tolstoy's essay "Why Do Men Stupefy Themselves?" and later in the same author's book What Is Art?.

While teaching at the academy (1836–1848) he developed a portrait style which combined a

Cimitero Acattolico
there.

Characteristics of art

Bryullov's work is the pinnacle of late Russian Romanticism when the sense of harmonic wholeness and beauty of the world is replaced by a feeling of tragedy and conflict of life. In the forefront of the historical picture, but its main theme - not the struggle of heroes, as in classicism, and the fate of the huge human masses. In his central work "The Last Day of Pompeii" Bryullov combined the drama of action, romantic lighting effects and sculptural plasticity of figures. The painting brought the artist great fame both in Russia and in Europe.

An outstanding master of both ceremonial and chamber portraits, Bryullov evolved in his art from the joyful embrace of life in his early works to the intricate psychologism of his later ones, thus anticipating the achievements of such artists like Ilya Repin in the second half of the 19th century. Bryullov had an enormous influence on Russian artists, among whom he had many followers and imitators.[4]

Selected artwork

See also

References and notes

  1. ^ Karl Pavlovich Bryullov at the Encyclopædia Britannica
  2. ^ Agnieszka Świętosławska (2015). "Emigration as an artistic turning point – Ignacy Szczedrowski, Konstanty Kukiewicz and Tadeusz Gorecki at the Imperial Academy of Arts in Saint Petersburg". Art Inquiry (17). Łódzkie Towarzystwo Naukowe: 321–345.
  3. ^ Karl Pavlovich Bryullov at the Encyclopædia Britannica
  4. OCLC 44796988
    .

Literature

External links

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