Aktualizacja: Październik 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 407 dzieł Karl Briułłow w naszym katalogu
W skrócie
Spośród wszystkich dzieł oryginalnych, które pozostawił Karl Briułłow, najsłynniejszym jest Ostatni dzień Pompejów (1833), znajdujący się w kolekcji Państwowy Rosyjski Muzeum w Sankt Petersburgu w Sankt Petersburg. Tuż za nimi znajdują się Jeździec (1832) oraz Bathsheba (1832). Nasz katalog zawiera 407 dzieł autorstwa Karl Briułłow; galeria zachowała 100 najbardziej podziwianych na świecie prac, z których każda została przedstawiona wraz z datą powstania, informacją o muzeum oraz jej historią.
Karl Bryullov stworzył dzieło Ostatni dzień Pompejów w latach 1830–1833. Ten monumentalny płótno historyczne zostało zamówione przez Anatolija Demidowa. Praca ta ukazuje katastrofalną erupcję Wezuwiusza w 79 roku n.e.
„Jeździec” autorstwa Karola Pawłowicza Bryułłowa, namalowany w 1832 roku, to coś więcej niż tylko portret; to starannie skonstruowane tableau arystokratycznego wypoczynku i rodzącego się sentymentu romantycznego. To urzekające dzieło, dostępne obecnie jako zachwycająca, ręcznie malowana reprodukcja na WahooArt.com, przenosi widza do skąpanej w słońcu włoskiej posiadłości, uchwycając intymną scenę z udziałem młodej kobiety – Giovaniny i Amacili Pacini, adoptowanych dzieci hrabiny Julii Pawłownej Samojłowej – cieszącej się jazdą konną w…
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.
The canvas bears the title Princess Yuliya Pavlovna Samoilova Leaving a Ball with Adopted Daughter Amacilia Pacini. It is a work by the artist Karl Bryullov. Within the frame, the Countess Yuliya Pavlovna Samoilova and her adopted daughter Amacilia Pacini are captured in a moment of quiet transition. The portrait reflects the artist's specific skill in rendering the likeness and presence of his subjects.
The Portrait of V. A. Perovsky is an oil on canvas painting from 1837. The subject is a man positioned in a military uniform, standing upon a dirt road. He holds a flag, a detail that establishes a sense of authority within the scene. A horse is situated near the center of the composition, providing a sense of depth to the landscape. In the background, two additional figures are visible,…
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 the Shishmariov Sisters1839
12
Girl riding a horse
13
Daphnis and Chloe1850 · Ermitaż
14
Portrait of Baroness Reinthal with her daughter.1825 · Muzeum Narodowe w Warszawie
15
Italian Morning1823
16
Portrait of N. A. Okhotnikov1827 · Ermitaż
17
Portrait of U. M. Smirnova1840
18
Portrait of Countess Yu. P. Samoilova and Her Ward Amacilia Pacini Leaving a Ball1842
19
The head of Bacchus1811
20
Self-portrait1816
21
Portrait of the Actor A. N. Ramazanov1821
22
Kleobis and Biton1827
23
Hylas, Carried Along by the Nymphs in Water1827
24
Portrait of F. D. Gverazzi1830
25
Portrait of Alexander Bruloff1826
26
The Last Day of Pompeii1830
27
Hylas and the Nymphs1827
28
Alexander Ribeaupierre1829
29
Portrait of V. A. Perovsky1824
30
Portrait of A. N. Lvov1824
31
Portrait of the Poet and Playwrigh Nestor Kukolnic1836 · Galeria Tratykowa
32
Portrait of the Artist Prince G. G. Gagarin1829
33
Aleksandr Turgenev1833
34
Portrait of a Young Woman Embroidering1832
35
Innocence, leaving the Earth1839
36
Portrait of V. A. Zhukovsky1837 · Taras Shevchenko National Museum
37
Portrait of I. A. Krylov1839
38
Sketch on the Subject of the Trinity Beneath the Oak of Mambre1821 · Ermitaż
39
Portrait of a woman1841 · Finnish National Gallery
40
M.P. Volkonskaia1840
41
Portrait of the architect A. Bolotov1843
42
The Return of Pope Pius IX to Rome from Basillica Santa Maria Maggiore1850
43
Flying Angel Mourning Victims of the Inquisition1850
44
Portrait of Countess O.I.Orlova-Davydova and Her Daughter1834 · Galeria Tratykowa
45
Portrait of Sculptor I. P. Vitaly1836 · Galeria Tratykowa
46
Portrait of Georg Kleberg1833 · Art Museum RIGA BOURSE
47
Portrait of the Poet and Playwright Alexey Tolstoy as a Youth1836
48
Portrait of Children of Volkonsky1843 · Galeria Tratykowa
49
Girl in a Forest1851
50
Greek lying on a rock1835
51
Greek Morning in Myraca1835 · Państwowe Muzeum Sztuki Dawnej im. A.S. Puškina
52
Erminia and the Shepherds. (Unfinished)1824 · Galeria Tratykowa
53
Genserich's Invasion of Rome. Study1833 · Galeria Tratykowa
54
Siege of Pskov1843 · Galeria Tratykowa
55
Portrait of Ye. I. Durnova1836 · Galeria Tratykowa
56
Portrait of Ye. Mussart and E. Mussart. (Riders)1849
57
Grape Harvest Celebration1827 · Galeria Tratykowa
58
Portrait of Grand Duchess Elena Pavlovna1829 · Galeria Tratykowa
59
Temple of Apollo in Phigalia1835 · Państwowe Muzeum Sztuki Dawnej im. A.S. Puškina
60
Genserich's Invasion of Rome1835
61
A Dream of a Girl Before a Sunrise1833
62
Nuns of the Nunnery of Saint Heart in Rome1849 · Galeria Tratykowa
63
Girl Gathering Grapes in a Suburb of Naples1827
64
Forced to Swim1852
65
Portrait of P. V. Kukolnic1837 · Galeria Tratykowa
66
Self Portrait1813 · Galeria Tratykowa
67
Male Portrait1829
68
The Narcissus1819
69
Genius of Art1820
70
Portrait of Maria Kikina as a Child1817 · Galeria Tratykowa
71
Portrait of the Secretary of State Piotr Kikin1822
72
Portrait of the Actor A.N.Ramazanov1821 · Galeria Tratykowa
73
Portrait of Maria Kikina as a Child1821
74
Portrait of Maria Kikina as a Child1820
75
Portrait of M. A. Kikina1821 · Galeria Tratykowa
76
The Model1822
77
The Nymph1828
78
Ascension Baron Shieling1824
79
Bivouac on a Crater, Vesuvius1824
80
Participants of the expedition to Mount Vesuvius1824
81
Italian morning1823
82
Voltigeur1830
83
Italian Midday1827 · Galeria Tratykowa
84
Italian Midday1825
85
Portrait of V. A. Perovsky on column capitals1824
86
The Last Day of Pompeii1830
87
The Last Day of Pompeii (detail 2)1830
88
Portrait of the Architect K. A. Ton1827
89
Satyr and Bacchante (Bacchanalia)1824
90
Portrait of Alexander Bruloff1827
91
Scene at the Entrance of a Cathedral1827
92
Mother Awoken by Her Crying Child1831
93
The Last Day of Pompeii1828
94
Nun's Dream1831
95
Vespers1825 · Galeria Tratykowa
96
The Last Day of Pompeii (detail 4)1830
97
Portrait of A. N. Demidov, Prince of San-Donato1831
98
Portrait of the Artist Sylvester Shchedrin1824
99
Confession of an Italian Woman1830
100
A Merry Return1830
Cztery motywy najczęściej powracające w tych oryginałach, z których każdy doczekał się swojego najdoskonalszego przykładu.
8 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Karl Briułłow | Obrazy z tej listy |
|---|---|---|---|
 Galeria Tratykowa |
Moskwa | 32 | Jeździec, Bathsheba, Pilgrims at the Entrance of the Lateran Basilica |
 Ermitaż |
Sankt Petersburg | 5 | Daphnis and Chloe, Portrait of N. A. Okhotnikov, Sketch on the Subject of the Trinity Beneath the Oak of Mambre |
 Państwowe Muzeum Sztuki Dawnej im. A.S. Puškina |
Moskwa | 6 | Greek Morning in Myraca, Temple of Apollo in Phigalia |
 Państwowa Galeria Sztuki Rosyjskiej w Sankt Petersburgu |
Saint Petersburg | 3 | Princess Yuliya Pavlovna Samoilova Leaving a Ball with Adopted Daughter Amacilia Pacini |
 Państwowy Rosyjski Muzeum w Sankt Petersburgu |
Sankt Petersburg | 2 | Ostatni dzień Pompejów |
 Finnish National Gallery |
Helsinki | 2 | Portrait of a woman |
 Muzeum Narodowe w Warszawie |
Warszawa | 1 | Portrait of Baroness Reinthal with her daughter. |
 Taras Shevchenko National Museum |
Kiev | 1 | Portrait of V. A. Zhukovsky |
Wybierz dekadę, aby zobaczyć dzieło, które ją definiuje.
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 stworzył dzieło Ostatni dzień Pompejów w latach 1830–1833. Ten monumentalny płótno historyczne zostało zamówione przez Anatolija Demidowa. Praca ta ukazuje katastrofalną erupcję Wezuwiusza w 79 roku n.e.
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…
Ostatni dzień Pompejów (1833), Państwowy Rosyjski Muzeum w Sankt Petersburgu, Sankt Petersburg. Następne są Jeździec (1832) oraz Bathsheba (1832).
34 lat: Ostatni dzień Pompejów pochodzi z 1833, a Karl Briułłow urodził(a) się w 1799.
Ostatni dzień Pompejów, Jeździec, 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 i Portrait of Countess Samoilova. Powyższy ranking zawiera rok powstania oraz muzeum dla każdego z nich.
Nasz katalog zawiera 407 dzieł artysty Karl Briułłow, datowanych od 1811 do 1852.
W większości znajdują się w Galeria Tratykowa (Moskwa), Ermitaż (Sankt Petersburg) i Państwowe Muzeum Sztuki Dawnej im. A.S. Puškina (Moskwa). Powyższa tabela muzeów zawiera ich pełną listę.
W 1820s: 44 z 100 dzieł na tej stronie powstało w tym czasie, w tym Pilgrims at the Entrance of the Lateran Basilica.
Na tej stronie najwcześniejszy to The head of Bacchus (1811), a najpóźniejszy Forced to Swim (1852).
Portraits (18), Portrait (16) i Men (16), w ramach 100 dzieł na tej stronie.
Oil On Canvas, dla 26 z 100 dzieł na tej stronie.
Romanticism i Neo-classicism, sądząc po oryginałach na tej stronie.
Jeździec, Bathsheba i Pilgrims at the Entrance of the Lateran Basilica: Galeria Tratykowa, Moskwa posiada 23 dzieł widocznych na tej stronie.
Bryullov’s upbringing fostered an appreciation for classical art, but he possessed a restless spirit yearning for inspiration beyond its rigid conventions. From childhood, he harbored a fervent fascination with Italy—a nation steeped in Renaissance grandeur—and this passion profoundly shaped his artistic trajectory. His father's influence ensured that Bryullov received a solid grounding in traditional techniques, yet he never succumbed to stylistic dogma.
Bryullov’s artistic sensibilities were undeniably molded by the masters of the Italian Renaissance—Raphael, Michelangelo, and Caravaggio. These artists captivated him with their masterful command of light and shadow, creating dramatic compositions that conveyed profound emotion. Bryullov's work demonstrates a deep understanding of anatomical detail, mirroring the meticulous observation characteristic of these influential figures.
He distinguished himself as a promising student at the Imperial School for the Arts, showcasing imaginative talent during his education. His early sketches and drawings already hinted at the expressive power that would define his future oeuvre.
Bryullov’s artistic breakthrough arrived with “The Last Day of Pompeii” (1830-1833)—a monumental historical painting that catapulted him to international fame. The canvas depicts the catastrophic eruption of Mount Vesuvius, capturing the terror and chaos of the event with breathtaking realism. Bryullov meticulously researched archaeological evidence and artistic precedents, drawing inspiration from Caravaggio’s dramatic chiaroscuro technique.
The painting garnered immense praise from contemporaries like Pushkin and Gogol, cementing Bryullov's reputation as a visionary artist. Alongside “Pompeii,” he produced “The Taking of the Life of Tsar Alexander I” (1827), demonstrating his ability to convey historical narrative with emotional depth. “The Defense of the Sepulchre” (1846) further showcased Bryullov’s skill in blending emotion and accuracy, reflecting the Romantic preoccupation with spiritual themes.
"Princess Yuliya Pavlovna Samoilova Leaving a Ball with Adopted Daughter Amacilia Pacini" (1832) – A stunning example of his portraiture skills. Bryullov skillfully captured the grace and dignity of his subject, employing subtle nuances of expression to convey her inner life.
"Genserich's Invasion of Rome” (1835) - Another dramatic historical scene displaying Baroque influence. Bryullov’s meticulous attention to detail and masterful use of color brought the grandeur of Roman history to life on canvas.
Bryullov’s artistic legacy extends far beyond his celebrated paintings. He served as a professor at the Imperial Academy of Arts until 1848, nurturing the talents of numerous aspiring artists and shaping the trajectory of Russian art for decades to come. Bryullov championed Romantic ideals—passion, imagination, and emotional sincerity—inspiring generations of painters to embrace expressive techniques and explore profound themes.
His unwavering dedication to artistic excellence solidified his place as one of Russia’s greatest visual artists, leaving an indelible mark on the nation's cultural heritage. Bryullov died on June 23, 1852, near Rome and is buried at the Cimitero Acattolico.
