Bryullov Karl Pavlovich
Karl Pavlovych Bryullov (before 1822 - Bryullo; December 12 (23) 1799 (17991223) - June 11 (23) 1852) was a Russian artist, professor of the St. Petersburg Academy of Arts (since 1836). He came from the French Brullo family. Brother of the sculptor Oleksandr Bryullov.
The author of paintings on historical themes, genre watercolors and portraits of cultural figures.
Bryullov studied with many realist artists, including Ukrainian ones — Ivan Soshenko, Dmytro Bezperchy, Taras Shevchenko and others.
He was born on December 12 (December 23), 1799 in St. Petersburg in the family of an academician wood carver and engraver.
In 1809-1821 he studied painting at the St. Petersburg Academy of Arts. Pupil of Andriy Ivanovych Ivanov. He was an extremely successful student: he won a gold medal in the history painting class. His first known work dates back to 1820 - "Narcissus".
In 1822, he was sent to Italy at the expense of the Society for the Encouragement of Artists. He also visited Dresden and Munich, settled in Rome. At this time, he paints the following genre paintings: "Italian Morning" (1823), "Italian South" (1827)
A grave with a large marble monument and the inscription "Carolus Bruloff" is near the entrance to the Protestant Cemetery [Archived 24 April 2019 at the Wayback Machine.] Rome near the wall of Aurelius and the pyramid of Cestius near the path that leads downhill, slightly diagonally to the left. There is a pointer to it.
Bryullov was a contemporary of Delacroix and Ingres; "The Raft of the Medusa" by Géricault was written in 1819; "Massacre on Chios" - in 1824, and "Freedom on the Barricades" - in 1830. Thus, thematically, Bryullov's work was not new - it fully fits into the academic system in which Bryullov was constantly cooking. There is some impulsivity and elusive movement in Bryullov's portraits, they are pleasant and not dark in color. The melancholy that permeated his late portraits brings Bryullov closer to the romantics.
Bryullov, unlike Pushkin and his friend Glinka, did not make such a significant impact on Russian painting as they did on literature and music, respectively. However, the psychological tendency of Bryullov portraits can be traced in all Russian masters of this genre: from Kramsky and Perov to Serov and Vrubel.
The portrait of the poet Vasyl Zhukovsky was painted with the aim of ransoming Taras Shevchenko�