The rubric was prepared by Diletant.media in collaboration with the History Electives community.
About the dead hand in the portrait of Krylov, about the ugly models, turned into ancient gods, about the father’s slap in the face, the Roman triumph and the fall in the homeland - in the new issue of Karl Brullov’s rubric “Optional in History”.
Karl Bryullov all his life was deaf in one ear - because of the slap that his father had given in childhood. He was not cruel, he just wanted some sense out of his son, so, for example, in the morning, before getting breakfast, the boy had to copy a little engraving. Carlos grew frail and deadly, lived with his grandmother, he began to walk at the age of five, he was tried to be treated with sand, but sitting in a pile of warm sand did not justify the hopes of fashionable doctors.
Drawing Carlos engaged, one might say, from infancy and clearly showed success, so that the admission to the Academy of Arts was not a surprise. At the Academy, he drew himself and helped others — for no reason, for a fee, of course — and at some point all student work began to suspiciously remind Bryullov that, on the one hand, the teachers were not very happy, but, on the other , confirmed that the guy will go far.
Self-portrait of Karl Brullo in the uniform of a graduate of the Academy of Fine Arts, 1813
Oh, yes, Bryullov was not Bryullov, his real name was Brullo, and his father, of course, was no Pavel Ivanovich, but Paul: Brullo came from France. But after the Academy, Karl went to Italy, and the emperor urgently needed to show everyone that he was a Russian citizen, so this "in" appeared at the end.
In general, the artist's life is full of discoveries. For example, the first work with a sitter. Here you sit in class, around Antinous, Venus, you somehow have already internally tuned in to the tall, immaculate antiquity in your head. Two dozen men from the Black River, havana’s movers, smelly fishermen, unwashed gardeners, all shaggy, callused, knocked down, rush into the hall, and you look first at the swollen knees of some fisherman’s Gavrila, then at the plaster leg of Apollo Belvedere, then again at Gavrila, and you understand that, guys, it’s not like the same thing a little, you weren’t prepared for this at all.
Or, for example, you come to Rome. At the entrance to the city you expect that now, shine, chic, charm, wealth. And there really is poverty and dirt, and all those magnificent natures from the home engravers disappeared somewhere, and instead of them dirt and swamp. And there is the same arch, as on Ekateringofskoy outpost, and behind it - hot, dirty, boiling Rome.
Venetians. Life class of the Academy of Arts
Going to Italy, Karl did not know that he would no longer see his family. During the 14 years spent abroad, two younger brothers, a father and a mother, died at home. Bryullov was already returning as a genius, the author of Pompeii, in front of whom all Italy bowed her head. Kamuchchini himself called him “the colossus,” Walter Scott himself exclaimed that “this is not a picture, but a whole epic,” and in St. Petersburg they arranged such a smart reception that it was impossible to doubt one’s own chosenness. If you suddenly became ill with Bryullov, read Alexander Benois from the place where he says that Bryullov is not only not a genius, but “not even a very clever person”, and that “everything that was done by Bryullov has an indelible imprint of lies and desire to shine and hit. "
Benoit read well in front of any art gallery, then to shock his companions with an inadvertently indulgent snobbery. Maybe with regard to Bryullov he goes too far, but, to tell the truth, the artist didn’t bring anything good back to Russia. It is not difficult to imagine the exemplary emotions of Karl Pavlovich when the emperor summoned him and said: "Write me Ivan the Terrible with your wife in a Russian hut on your knees in front of the image, and in the window show the capture of Kazan." What is John the Terrible? What is Kazan?
Bryullov in general wanted to write the “Siege of Pskov”. He was sick for weeks with this “Siege”, locked himself in the workshop, and he was the only one who saw him, he said to a friend: “We’re going to a big workshop for the siege of Pskov for two weeks; Please send me two cups of coffee, two eggs and a bowl of soup. ” A friend also sent a good chicken, but Pskov never obeyed the artist.
Cartoons of Bryullov on Glinka
He was not interested in astronomy - the dome of the Pulkovo Observatory was not entrusted to Bryullov. All these crazy sketches from the newly discovered Neptune forever lay on the table. Bryullov nearly broke the sketches for St. Isaac’s Cathedral - by the way, why Montferran couldn’t immediately say that he didn’t need painting, that she wouldn’t survive in the St. Petersburg climate, or why Brülllov couldn’t come and say: “Auguste Ivanovich, I'm here sketches I want to sketch, how are you, will you not be against it? ”Man spent so much time on work, and academics did not believe that the painting would withstand frosts and dampness, they were not even sure that they could see anything from below. Bryullov specially collected them at the construction site, saying: “If you write the word“ fool ”there in the same large letters, then each of you will read it.”
Matyushin. Bryullov, Glinka and Puppeteer in 1842
In Russia it became harder and harder. He talked a lot with Glinka and Kukolnik, and, reading about their long friendship, at first, you don’t really know why Kukolnik Bryullov, but on the other hand, and who else to be with, is not with Pushkin. I want to believe that Glinka was still his true friend, it’s just convenient that Nestor has an apartment and everything there is always tusit. While Glinka was playing music, Bryullov made caricatures in the next room: “Glinka adored”, “Glinka singing without a voice and without dress coat”, “Glinka delighted with his works”, “Glinka conceiving a new monstrous opera”. Of course, he also painted portraits, but portraits for the author of “Pompeii” are not that sweeping.
He did not finish Krylov at all, Goretsky finished writing his hand from a plaster cast after the death of the fabulist, saying that it turned out monstrous. Bryullov at this time was already in Italy. He went there to die, somehow without even worrying about it, he rode humbly. The health, badly undermined by the St. Petersburg climate, obviously deteriorated, but he did not complain. “I lived like this,” he said to Zheleznova, “to live in the world for only forty years. Instead of forty years, I lived fifty, therefore, I stole ten years from eternity and have no right to complain about fate. ”