Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 407 dela Карл Брјулов u našem katalogu
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Od svih originala koje je Карл Брјулов ostavio, najpoznatiji je Последњи дан Помпеја (1833), koji se nalazi u kolekciji Државни руски музеј, St. Petersburg. Odmah za njima slede Jahač (1832) i Bathsheba (1832). Naš katalog sadrži 407 dela umetnika Карл Брјулов; galerija je čuvala 100 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
Karl Bryullov stvorio je remek-delo Последњи дан Помпеја u periodu između 1830. i 1833. godine. Ovo monumentalno istorijsko platno bilo je delo koje je naručio Anatolij Demidov, a njegovo značenje leži u potpunom prikazu katastrofalne erupcije Vezuva 79. godine nove ere.
Karl Pavlovich Bryullov's "The Rider," painted in 1832, is more than just a portrait; it’s a carefully constructed tableau of aristocratic leisure and burgeoning Romantic sentiment. This captivating work, now available as a stunning hand-painted reproduction from WahooArt.com, transports the viewer to a sun-drenched Italian estate, capturing an intimate scene of a young woman – Giovanina and Amacilia Pacini, the adopted children of Countess Yuliya Pavlovna Samoil – enjoying a…
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 · Ermitaž
14
Portrait of Baroness Reinthal with her daughter.1825 · Nacionalni muzej u Varšavi
15
Italian Morning1823
16
Portrait of N. A. Okhotnikov1827 · Ermitaž
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 · Tretyakovljeva galerija
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 · Ermitaž
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 · Tretyakovljeva galerija
45
Portrait of Sculptor I. P. Vitaly1836 · Tretyakovljeva galerija
46
Portrait of Georg Kleberg1833 · The Art Museum RIGA BOURSE
47
Portrait of the Poet and Playwright Alexey Tolstoy as a Youth1836
48
Portrait of Children of Volkonsky1843 · Tretyakovljeva galerija
49
Girl in a Forest1851
50
Greek lying on a rock1835
51
Greek Morning in Myraca1835 · Pushkin State Museum
52
Erminia and the Shepherds. (Unfinished)1824 · Tretyakovljeva galerija
53
Genserich's Invasion of Rome. Study1833 · Tretyakovljeva galerija
54
Siege of Pskov1843 · Tretyakovljeva galerija
55
Portrait of Ye. I. Durnova1836 · Tretyakovljeva galerija
56
Portrait of Ye. Mussart and E. Mussart. (Riders)1849
57
Grape Harvest Celebration1827 · Tretyakovljeva galerija
58
Portrait of Grand Duchess Elena Pavlovna1829 · Tretyakovljeva galerija
59
Temple of Apollo in Phigalia1835 · Pushkin State Museum
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 · Tretyakovljeva galerija
63
Girl Gathering Grapes in a Suburb of Naples1827
64
Forced to Swim1852
65
Portrait of P. V. Kukolnic1837 · Tretyakovljeva galerija
66
Self Portrait1813 · Tretyakovljeva galerija
67
Male Portrait1829
68
The Narcissus1819
69
Genius of Art1820
70
Portrait of Maria Kikina as a Child1817 · Tretyakovljeva galerija
71
Portrait of the Secretary of State Piotr Kikin1822
72
Portrait of the Actor A.N.Ramazanov1821 · Tretyakovljeva galerija
73
Portrait of Maria Kikina as a Child1821
74
Portrait of Maria Kikina as a Child1820
75
Portrait of M. A. Kikina1821 · Tretyakovljeva galerija
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 · Tretyakovljeva galerija
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 · Tretyakovljeva galerija
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
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
8 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Карл Брјулов | Slike iz ovog spiska |
|---|---|---|---|
 Tretyakovljeva galerija |
Moskva | 32 | Jahač, 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 |
 Државни руски музеј |
Sankt Peterburg | 3 | Princess Yuliya Pavlovna Samoilova Leaving a Ball with Adopted Daughter Amacilia Pacini |
 Државни руски музеј |
St. Petersburg | 2 | Последњи дан Помпеја |
 Finnish National Gallery |
Helsinki | 2 | Portrait of a woman |
 Nacionalni muzej u Varšavi |
Varšava | 1 | Portrait of Baroness Reinthal with her daughter. |
 Taras Shevchenko National Museum |
Kiev | 1 | Portrait of V. A. Zhukovsky |
Izaberite deceniju da biste videli original koji je definiše.
The head of Bacchus, a work by Karl Bryullov, dates to about 1811. This drawing focuses on the head and upper shoulders of a female figure. The subject is characterized by prominent horns curving above the head, a visual attribute likely representing Bacchus, the Roman god of wine, or Dionysus.
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 stvorio je remek-delo Последњи дан Помпеја u periodu između 1830. i 1833. godine. Ovo monumentalno istorijsko platno bilo je delo koje je naručio Anatolij Demidov, a njegovo značenje leži u potpunom prikazu katastrofalne erupcije Vezuva 79. godine nove ere.
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…
Последњи дан Помпеја (1833), Државни руски музеј, St. Petersburg. Slede Jahač (1832) i Bathsheba (1832).
34 godina: Последњи дан Помпеја datira iz 1833, a Карл Брјулов je rođen/a 1799.
Последњи дан Помпеја, Jahač, 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. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 407 dela umetnika Карл Брјулов, datiranih od 1811 do 1852.
Većinom u Tretyakovljeva galerija (Moskva), Ermitaž (Sankt Peterburg) i Pushkin State Museum (Moskva). Tabela muzeja iznad sadrži njih sve.
U 1820s: 44 od 100 dela na ovoj stranici nastalo je tada, od čega je Pilgrims at the Entrance of the Lateran Basilica.
Na ovoj stranici, najstarije delo je iz The head of Bacchus (1811), a najnovije iz Forced to Swim (1852).
Portrait (23), Man (17) i Woman (15), kroz svih 100 dela na ovoj stranici.
Oil On Canvas, za 33 od 100 dela na ovoj stranici.
Romantizam i Neo-classicism, sudeći po originalima na ovoj stranici.
Jahač, Bathsheba i Pilgrims at the Entrance of the Lateran Basilica: Tretyakovljeva galerija, Moskva čuva 23 dela sa ove stranice.
Карл Павлович Брулов (рођен као Карл Бриуло) рођен је 23. децембра 1799. године у Санкт Петербургу, Русија. Његов отац, Павел Иванович Бриуло, био је академик, дрворезбар и гравер пореклом из Хугенота, који је у младог Карла усадио љубав према уметности. Бруловљев уметнички пут започео је под очинском вођством, пре него што се званично уписао на Царску школу за уметност у Санкт Петербургу 1809. године.
Иако је школовао у класичном оквиру, Брулов никада није прихватио његове строге границе. Осећао је снажну привлачност ка Италији од раног узраста, а његов уметнички развој значајно су обликовали италијански ренесансни мајстори. Његово дело показује утицаје сликара као што су Рафаел, Микеланђело и Каравађо, посебно у њиховој драматичној употреби светлости и сенке и мајсторству анатомије.
Бруловљев пробој дошао је са сликом “Последњи дан Помпеја” (1830-1833), монументалним историјским платном које га је катапултирало у међународну славу. Дело, које приказује хаотичну ерупцију планине Везув, било је хваљено за своју драматичну композицију, емоционални интензитет и техничку бриљијантност. Изазвало је огромно дивљење савременика као што су Пушкин и Гогољ.
Након успеха "Последњег дана Помпеја", Брулов се тријумфално вратио у Русију, обезбедивши престижну позицију на Царској академији за уметност 1836. године. Служио је као професор тамо до 1848. године, утичући на генерације руских уметника.
Карл Павлович Брулов се сматра кључном фигуром руског романтизма. Његов рад је означио прелаз ка већем емоционалном изразу и драматичном приповедању унутар руске уметности. Везао је јаз између неокласичне формалности и растајућег романтичног покрета, утичући на наредне генерације уметника, укључујући Гаврила Горелова.
Бруловљево наслеђе се протеже даље од његових слика; био је цењени учитељ и заговорник уметничке иновације. Његови доприноси су учврстили његово место као једног од највећих визуелних уметника у руској историји, остављајући трајан белег на националном културном наслеђу. Преминуо је 23. јуна 1852. године у близини Рима и сахрањен је на Cimitero Acattolico.
