Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 407 del v našem katalogu avtorja Karl Brjoellov
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Najbolj znano delo umetnika Karl Brjoellov je Zadnji dan Pompejev (1833). Najdete ga v muzeju Državni ruski muzej v mestu St. Peterburg. Na seznamu sta še Jadalka (1832) in Bathsheba (1832). V našem katalogu imamo 407 del avtorja Karl Brjoellov; ta vodnik izpostavlja 100 najbolj znanih del, vključno z letom nastanka, muzejem in zgodbojo vsake slike.
Karl Bryullov je med letoma 1830 in 1833 ustvaril čaodovito del Zadnji dan Pompejev. Ta monumentalno zgodovinsko platno je naročil Anatoly Demidov. Delu se ta veličanstavna slika posveča katastrofalni izbruhu Vezovija v letu 79 n. l.
Bryullovljeva "Jadalka", naslikana leta 1832, je več kot le portret; je skrbno zastavljena slika aristokratskega prostakostja in vzrastajočega romantičnega čustvenstva. To očarjajoče delo, ki je zdaj na voljo kot čudovita ročno naslikana reprodukcija na WahooArt.com, gledalca popelje na sončno osvetljeno italijansko posest, kjer zajame intimno prihajanje mlade ženske – Giovanine in Amacilie Pacini, adoptiranih otrok grofinje Julije Pavlovne Samoil – med vožnjo z njenimi ljubimi konji in zvestimi psi.
In the quiet, luminous depths of Karl Pavlovich Bryullov’s 1832 masterpiece, Bathsheba, we find ourselves transported to a moment where time itself seems to hold its breath. This monumental canvas is far more than a mere biblical illustration; it is a profound psychological study wrapped in the velvet textures of the Romantic era. The scene captures the biblical Bathsheba in a state of private contemplation, seated as she tends to…
To stand before Karl Pavlovich Brulloff's depiction of Pilgrims at the Entrance of the Lateran Basilica is to step across the threshold of time itself. This oil on canvas, executed in 1825, is far more than a mere historical scene; it is a profound meditation on faith, community, and the enduring human journey toward something sacred. Brulloff captures that exquisite moment when the weight of worldly experience meets the promise…
The artwork is titled Portrait of F.A. Bruni and was executed by the artist Karl Bryullov. This specific work is a monochromatic portrait sketch that focuses on the head and upper torso of a man. The subject is presented in a three-quarter view, with his gaze directed toward the viewer. Based on the title, the man depicted is likely F.A. Bruni.
A Portrait Steeped in Romantic Grandeur: Bryullov’s “Horsewoman” The canvas breathes with an immediacy rarely achieved by artists of its era—a testament to Karl Pavlovich Bryullov's masterful command of Romanticism. Completed around 1840, "Horsewoman," housed prominently within the Tretyakov Gallery in Moscow, transcends mere depiction; it’s a carefully constructed narrative designed to evoke profound emotion and celebrate idealized beauty. Bryullov wasn’t simply capturing an image; he was striving to embody…
The Portrait of V. A. Perovsky is a stunning oil on canvas painting created by the renowned Russian artist Karl Pavlovich Brulloff in 1837. This magnificent work of art measures 247 x 152 cm and is currently housed at the prestigious Tretyakov Gallery in Moscow, Russia. As a professional expert in Art and salesman at https://AllPaintingsStore.com, I can attest that this painting is a true masterpiece that showcases Brulloff's exceptional…
Karl Pavlovich Bryullov's "Child in a Swimming Pool," painted in 1829, is more than just a charming pastoral scene; it’s a poignant meditation on innocence, fleeting beauty, and the ephemeral nature of childhood. This watercolor masterpiece, currently residing within the hallowed halls of the Tretyakov Gallery in Moscow, captures a young boy – widely believed to be Prince Alexander Gagarin, a future figure in Russian history – immersed in a…
The evening air settles heavily around the figures in Vespers, a genre painting by Karl Bryullov. Created in 1825, the work captures a quiet, communal moment of devotion. Here, the artist turns his gaze toward the simple, profound acts of faith that define a community. The scene unfolds as a gathering of souls, each caught in a private moment of prayer or reflection during an evening service.
In this portrait of Countess Samoilova by Karl Bryullov, the composition is anchored by the central figure of the woman. She is positioned prominently in the middle of the frame, wearing a blue dress and a crown upon her head. This central placement establishes her as the primary focus of the work. To her sides, two other figures complete the grouping. On one side, a person is dressed in a…
Portrait of Baroness Reinthal with her daughter.1825 · Narodni muzej v Varšavi
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Portrait of Countess Yu. P. Samoilova and Her Ward Amacilia Pacini Leaving a Ball1842
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Portrait of the Poet and Playwrigh Nestor Kukolnic1836 · Tretyakovska galerija
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Sketch on the Subject of the Trinity Beneath the Oak of Mambre1821 · Ermitaž
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The Return of Pope Pius IX to Rome from Basillica Santa Maria Maggiore1850
Pridobite ročno naslikano from $400 →
Portrait of Countess O.I.Orlova-Davydova and Her Daughter1834 · Tretyakovska galerija
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Portrait of the Poet and Playwright Alexey Tolstoy as a Youth1836
Pridobite ročno naslikano from $175 →
Portrait of Grand Duchess Elena Pavlovna1829 · Tretyakovska galerija
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Nuns of the Nunnery of Saint Heart in Rome1849 · Tretyakovska galerija
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Četiri teme, ki se v teh delih najpogosteje pojavljajo, vsaka z svojim najbolj znanim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Karl Brjoellov | Slike iz tega seznama |
|---|---|---|---|
 Tretyakovska galerija |
Moskva | 32 | Jadalka, Bathsheba, Pilgrims at the Entrance of the Lateran Basilica |
 Ermitaž |
Sankt Peterburg | 5 | Daphnis and Chloe, Portrait of N. A. Okhotnikov, Sketch on the Subject of the Trinity Beneath the Oak of Mambre |
 Pushkin State Museum |
Moskva | 6 | Greek Morning in Myraca, Temple of Apollo in Phigalia |
 Državni ruski muzej |
Sankt Peterburg | 3 | Princess Yuliya Pavlovna Samoilova Leaving a Ball with Adopted Daughter Amacilia Pacini |
 Državni ruski muzej |
St. Peterburg | 2 | Zadnji dan Pompejev |
 Finnish National Gallery |
Helsinki | 2 | Portrait of a woman |
 Narodni muzej v Varšavi |
Varšava | 1 | Portrait of Baroness Reinthal with her daughter. |
 Taras Shevchenko National Museum |
Kiev | 1 | Portrait of V. A. Zhukovsky |
Izberite desetletje, da si ogledate njegovo najboljše delo.
To stand before Karl Pavlovich Brulloff's depiction of Pilgrims at the Entrance of the Lateran Basilica is to step across the threshold of time itself. This oil on canvas, executed in 1825, is far more than a mere historical scene; it is a profound meditation on faith, community, and the enduring human journey toward something sacred. Brulloff captures that exquisite moment when the weight of worldly experience meets the promise…
Karl Bryullov je med letoma 1830 in 1833 ustvaril čaodovito del Zadnji dan Pompejev. Ta monumentalno zgodovinsko platno je naročil Anatoly Demidov. Delu se ta veličanstavna slika posveča katastrofalni izbruhu Vezovija v letu 79 n. l.
The Portrait of U. M. Smirnova is an oil on canvas work by the artist Karl Bryullov. Created in 1840, the painting captures a woman in a moment of quiet repose. She is accompanied by a dog, its fur resting near her. This portrait is also known by the alternative title Portrait of Ulyana Smirnova, née Spiridonova.
In this oil painting, two figures occupy a woodland setting during twilight or a nocturnal hour. The composition centers on the interaction between Daphnis and Chloe. One figure, Chloe, stands with her back to the viewer, while Daphnis sits on the right, facing her. The figures are rendered with pale, luminous skin tones that contrast against a background of deep greens and dark shadows. A small stream flows through the…
Na vrhu liste je Zadnji dan Pompejev (1833), Državni ruski muzej, St. Peterburg. Takoj za njim sta Jadalka (1832) in Bathsheba (1832).
Starosti 34 let. Karl Brjoellov se je rodil(a) leta 1799, njegovo/njino delo Zadnji dan Pompejev pa izvira iz leta 1833.
Zadnji dan Pompejev, Jadalka, Bathsheba, Pilgrims at the Entrance of the Lateran Basilica, Portrait of F.A. Bruni, Princess Yuliya Pavlovna Samoilova Leaving a Ball with Adopted Daughter Amacilia Pacini, Portrait of V. A. Perovsky, Child in a Swimming Pool (Portrait of Prince A.G. Gagarin in Childhood), Vespers in Portrait of Countess Samoilova. Leto in muzej vsakega dela boste našli v zgornjem seznamu.
V našem katalogu je 407 del umetnika Karl Brjoellov, datiranih od 1811 do 1852.
Večino njih boste našli v Tretyakovska galerija (Moskva), Ermitaž (Sankt Peterburg) in Pushkin State Museum (Moskva). Na seznamu muzejev zgoraj je naveden celoten pregled.
V obdobju 1820s, bolj kot koli drugič: 44 od 100 del na tej strani izvira iz tega obdobja, med katerimi je Pilgrims at the Entrance of the Lateran Basilica.
Najstarejše delo tukaj je The head of Bacchus (1811); najsodobnejše je Forced to Swim (1852).
Portraits (18), Portrait (16) in Men (16) od 100 del na tej strani.
Oil On Canvas, uporano v 26 od 100 del na tej strani.
Romanticism in Neo-classicism, kot lahko vidite v delih na tej strani.
Na tej strani lahko v muzeju Tretyakovska galerija, Moskva vidite 23 dela, vključno s作品ami Jadalka, Bathsheba in Pilgrims at the Entrance of the Lateran Basilica.
Da. Vsaka slika na tej strani je na voljo kot ročno slikano oljno reprodukcijo ali tiskano kopijo v velikosti, ki vam ustreza. Za naročilo le odprite stran slike.
Karl Pavlovich Bryullov, rojen Karl Briullo 23. decembra 1799 v Sankt Peterburgu, je bil ruski slikar, ki je pustil neizbrisljiv pečat na ruskem slikarstvu 19. stoletja. Njegovo ustvarjanje se prepleta z dramatično močjo romantike, globoko čustvenostjo in izjemno tehnično dovršenostjo. Že v otroštvu je pokazal nadarjenost za umetnost, ki jo je spodbujal njegov oče, Pavel Ivanovich Briullo, akademik, lesorezbar in graver hugenotskega rodu. Očetova ljubezen do umetnosti je bila temelj Bryullovove prihodnje poti, saj ga je usmerjal v zgodnjih korakih pred formalnim študijem na Imperialni akademiji za umetnost v Sankt Peterburgu leta 1809.
Bryullov se je izobraževal v okviru klasične tradicije, vendar se ni nikoli popolnoma podredil njenim strogim omejitvam. Že kmalu ga je privlačila Italija, njena umetnost pa je imela odločilen vpliv na njegov razvoj. Njegovo delo nosi sledove vpliva italijanskih renesančnih mojstrov – Raphaela, Michelangela in Caravaggia – zlasti njihove dramatične uporabe svetlobe in sence ter izjemne anatomije. Potovanje v Rim leta 1821 je bilo ključno za njegovo umetniško dozorevanje; tam je preživel več kot desetletje, brusil svoje spretnosti in se navdihoval z bogato zgodovino in lepoto italijanske umetnosti.
Njegova resnična prelomnica je prišla z monumentalno sliko “Zadnji dan Pompejev” (1830-1833), ki ga je katapultirala v mednarodno slavo. Delo, ki prikazuje kaotičen izbruh Vezuva, je bilo pohvaljeno zaradi svoje dramatične kompozicije, intenzivne čustvenosti in tehnične briljantnosti. Sodelavci kot sta Puškin in Gogol so ga obsipali s pohvalami. Slika ni bila zgolj umetniški triumf, ampak tudi odraz Bryullovovega globokega zanimanja za zgodovino in človeško usodo v trenutkih ekstremne stiske.
Po uspehu “Zadnjega dne Pompejev” se je Bryullov triumfalno vrnil v Rusijo, kjer si je zagotovil prestižno mesto na Imperialni akademiji za umetnost leta 1836. Do leta 1848 je bil profesor in mentor številnim ruskim slikarjem, ki so ga občudovali kot mojstra in navdih. Razvil je prepoznaven portretni slog, ki združuje klasično preprostost z romantičnimi čustvi.
Karl Pavlovich Bryullov velja za ključno figuro ruskega romantizma. Njegovo delo je označilo premik k večji čustveni izrazitosti in dramatičnemu pripovedovanju v ruskem slikarstvu. Je pomembna povezava med neoklasicistično formalnostjo in razvijajočo se romantično umetnostjo, ki je navdihnila naslednje generacije umetnikov, kot je bil Gavriil Gorelov. Njegova zapuščina presega njegove slike; cenjen učitelj in zagovornik umetniške inovacije. S svojimi prispevki si je utrdil mesto med največjimi ruskimi vizualnimi umetniki in pustil trajen pečat na nacionalni kulturni dediščini. Umrl je 23. junija 1852 v bližini Rima, pokopan pa je na Cimiteru Acattolico.
