Selfies, Romanticism, and Symbolism: What You Need to Know About Bryullov's "The Last Day of Pompeii"

Contents:

• Agenda of the time
• Work on the painting
• Furor
• Composition of the painting
• Innovation in the painting
• The fate of the painting and the author

In 1821, Karl Bryullo successfully completed his studies at the Academy of Arts in St. Petersburg, receiving a large gold medal for his achievements. The following year, he and his brother, the architect Alexander Bryullo, were offered the opportunity to become pensioners of the Society for the Encouragement of Artists for a period of four years, which in the modern sense would be called a grant. This period became an important stage in their careers, opening new horizons for creativity and professional growth.

Emperor Nicholas I once bestowed the title "v" on the family, thanks to which they became known as the Bryullovs. Having accepted this honor, the family set off on a journey abroad. First, the brothers visited Germany, and in 1823 they finally settled in Rome. This decision contributed to their creative development and the discovery of new horizons in art.

Agenda of the Time

At that time, excavations of ancient cities such as Pompeii and Herculaneum were actively discussed. These cities were buried under a layer of volcanic ash as a result of the eruption of Vesuvius in 79 AD. This catastrophe became one of the most devastating in history, taking the lives of approximately two thousand people. Excavations of these unique archaeological sites provide valuable information about the life and culture of ancient Roman society, attracting the attention of scholars and tourists from all over the world.

Bryullov's contemporaries, inspired by the tragic events, created significant works of art. In 1822, the English artist John Martin unveiled a large-scale painting, "The Destruction of Pompeii and Herculaneum," which attracted attention with its drama and historical accuracy. In 1824, the Italian composer Giovanni Pacini wrote the opera The Last Day of Pompeii, and the talented set designer Alessandro Sanquirico designed the spectacular stage sets for it. These creations have become an important part of cultural heritage, reflecting an interest in historical catastrophes and their impact on art.

Alexander Bryullov was the first to visit the excavation site and was deeply impressed by what he saw. His letters to his brother likely inspired Karl Bryullov, ultimately leading to the creation of his famous large-scale canvas.

In 1827, he, along with Countesses Maria Razumovskaya and Yulia Samoylova, as well as Anatoly Demidov, who later commissioned the painting, visited Naples and its environs to inspect the excavations. That same year, work began on a large-scale painting, the creation of which took six years.

Work on the painting

Karl Bryullov approached the task with particular care. He realized that a visual inspection alone was not enough to deeply understand the situation, so he turned to written sources. In particular, he studied the accounts of Pliny the Younger, an ancient Roman writer who, in his memoirs, shared his experience of abandoning his mother in similar circumstances. This approach allowed Bryullov not only to expand his knowledge but also to delve deeper into the historical context, which significantly enriched his artistic perception.

Preparation for the creation of a large-scale work of art included work on a copy of Raphael's fresco "The School of Athens," located in the Vatican Palace. This work was distinguished by a complex multi-figure composition, which, according to art historians, had a significant influence on the placement of characters in the painting "The Last Day of Pompeii."

While Bryullov was getting ready to work, Vesuvius began to show signs of activity. The artist had the opportunity to create a sketch from nature. However, unfortunately, by the time he arrived from Rome, the volcanic activity had already subsided, and he was unable to even see the smoke rising from the crater.

In 1830, the deadline for Anatoly Demidov's commission was expiring, which was causing increasing dissatisfaction on the part of the client. The situation deteriorated to such an extent that Karl Bryullov was informed of Demidov's intention to terminate the contract if work on the painting did not begin soon. This threat forced the artist to accelerate his actions and focus on completing the project.

At that time, Karl Bryullov had completed approximately half of his work, but the threat of contract termination pushed him to work more intensively. Contemporaries noted that in the process of creating the canvas, Bryullov reached the extreme limits of his strength, and he was often carried out of the workshop in a state of complete exhaustion.

The artist created several preliminary sketches, both graphic and pictorial, which are currently in various museums. He also repeatedly changed the composition of the figures on the canvas.

Even after completing the work, the artist Mikhail Zheleznov remained dissatisfied with the final result. He noted that the images did not have the necessary relief. According to his idea, the figures were supposed to seem to come out of the canvas, creating the effect of volume and depth.

For two weeks, Karl Bryullov regularly visited his workshop, trying to find a solution to the problem that had arisen. As a result of his persistent efforts, he decided to add light, which significantly improved the final result of the work.

In his memoirs, Mikhail Zheleznov conveyed the words of Karl Bryullov: “It seemed to me that the light from the lightning on the pavement was too weak. I illuminated the stones at the warrior’s feet, and the warrior jumped out of the painting. Then I illuminated the entire pavement and saw that my painting was complete.” This moment highlights the artist's creative process and his ability to breathe life into his works.

Furor

The painting was completed in 1833, and Anatoly Demidov was pleased with the result. He would later gift it to Emperor Nicholas I. The artist displayed the work in his studio, and it caused a real sensation. The work was compared to the works of such masters as Raphael, Michelangelo, and Titian.

After being shown in Rome, the painting was transported to Milan, where it was presented at an art exhibition in the Brera Palace. Karl Bryullov was awarded the diploma of honorary member of the Milan Academy of Fine Arts. He later received the title of honorary member of the academies of Bologna, Parma, and Florence, which confirmed his outstanding achievements in the field of art and strengthened his reputation among European masters of painting.

The painting was presented to the French public, but received less enthusiastic reviews in the press. Nevertheless, Karl Bryullov was awarded a high honor—a large gold medal.

After traveling throughout Europe, the painting returned to Russia, where it caused a widespread response. Alexander Pushkin dedicated one of his poems to it, and Nikolai Gogol wrote a lengthy article analyzing its significance. The Academy of Arts recognized "The Last Day of Pompeii" as an outstanding painting of the 19th century. This masterpiece continues to inspire artists and art historians, remaining an important cultural object both in Russia and abroad.

It is currently presented in the Russian Museum in St. Petersburg.

Composition of the painting

"The Last Day of Pompeii" is an outstanding work of art, measuring 4.5 by 6.5 meters. The main action takes place on the Street of Tombs (Strada dei Sepolcri, or Via dei Sepolcri), which Karl Bryullov depicted from life after his trip to its ruins in 1827. The composition of the painting is built in the spirit of classicism, representing a cycle of individual episodes, harmoniously enclosed in a triangular shape. This work not only demonstrates Bryullov's mastery, but also serves as an important historical document, capturing the tragic events associated with the eruption of Vesuvius and the destruction of Pompeii.

The center of the composition depicts a woman fallen from a chariot, whom a baby is trying to embrace. Art historians interpret these figures as symbols of the inevitable demise of the ancient world and the birth of a new one, inextricably linked with the previous one. Within the framework of classicism, such a placement of an allegory in the center of the painting would have been impossible.

Next to the mother and baby are the sons who support their feeble father. Behind them, the ancient Roman writer Pliny the Younger is depicted with his mother, who, overcome with fear and weakness, persuades her son to leave her for safety, lest she cause his death. This moment vividly illustrates the theme of family ties and self-sacrifice in difficult times.

I look back and see a thick, black fog mercilessly covering the earth. Night has fallen, unlike the usual moonless or cloudy darkness: such darkness only exists in a locked room where the lights are extinguished. All around, one can hear women's wails, children's cries, and the cries of men calling for their parents, children, or wives, trying to recognize them by their voices. Some mourn their fate, others the loss of loved ones, and some, overcome by the fear of death, pray for final deliverance. Many raise their hands to the heavens, while most realize that neither gods nor hope exist, and for the world, this night will be eternal. Pliny the Younger wrote these lines in his letter to Tacitus, conveying the atmosphere of hopelessness and fear that gripped people at the time of crisis.

In the lower right corner, a newlywed couple is depicted: the bride, wearing a wreath, faints, while the groom tries to support her. His eyes reflect the horror of losing his beloved, and he is unaware of the catastrophe unfolding around them. This moment highlights not only the tragedy of their love, but also the chaos that engulfs everything in the area, creating a contrast between personal loss and global catastrophe.

The sketches for the painting clearly convey the girl's vitality. However, Bryullov, seeking to introduce an element of drama, decided to "kill" the character, giving the work emotional depth.

To the left of the central figures is a family, where the husband shields his wife and two children with his cloak. The man was based on the Italian weight thrower Domenico Marini, whose portrait was painted by Karl Bryullov in 1829. In the painting "The Last Day of Pompeii" he is depicted stepping over a dead woman with a baby.

The largest group of people has gathered on the steps of Scaurus's tomb. Among them, you can see the artist himself, Karl Bryullov, who included a self-portrait in his canvas. Despite the surrounding catastrophe, he retained his most valuable possessions—a box of brushes and paints. Next to him stands a man trying to carry away the fallen jewelry, emphasizing the atmosphere of chaos and loss reigning all around.

The female characters in this work attract particular attention. One of them looks up, as if seeking hope or salvation, while the other, alone among them, directs her gaze directly at the viewer. Her eyes reveal profound horror and the realization that this is not just her last day, but the end of the entire city. This contrast in views emphasizes the emotional charge of the situation and enhances the impact on the audience.

Many experts note that in The female figures in the painting bear the marks of Countess Yulia Samoylova, who was the artist's muse and patroness. This fact is intriguing and underscores the connection between the artist's personal life and his works. The images, inspired by real people, enrich the work, creating deep associations and an emotional connection with the viewer.

Innovation in the painting

Although the canvas was created in In the spirit of classicism, Karl Bryullov did not focus on the heroic deed of a single hero, as was typical of the time. Instead, he depicted a tragedy that touched the destinies of many people. This work not only demonstrates the artist's skill but also immerses the viewer in deep emotional experiences, emphasizing the universality of human suffering and experiences. Art historians emphasize that this event significantly accelerated the evolution of painting. The artist required courage to depart from the strict canons of classicism during the creation of this painting. Attention to the destinies of people, characteristic of Romanticism, became a key element of his work. This desire for individual expression and emotional depth predetermined new directions in painting, opening the way for further artistic experimentation. An innovative solution for its time was the depiction of double illumination in the painting: from the flame of the volcano and from a flash of lightning. Before Karl Bryullov, artists primarily used neutral, diffused daylight in their works, making his approach unique and drawing attention to the striking contrasts of light and shadow.

The artist used two contrasting light sources: cool blue tones predominate in the foreground, while warm reds dominate the background. Karl Bryullov masterfully reflected the reflections from these light sources in the human figures, creating a sense of volume and vibrancy in the painting. This approach to color and light allows the viewer to become more immersed in the atmosphere of the work, experiencing the dynamism and emotional richness of the scene.

The Fate of the Painting and the Artist

Art critic Alexei Savinov noted that Karl Bryullov had a unique destiny as an innovator who was recognized immediately after the appearance of his works to the public. This moment became a landmark in art history, as Bryullov managed to capture the attention and admiration of viewers from the very beginning of his career.

Nikolai Gogol dedicated an entire essay to the painting, poetically noting that Raphael typically depicted only faces, focusing on the expression of celestial passions and thoughts, while leaving details such as clothing to his students for refinement. In contrast, Bryullov places equal value on all objects, from the majestic to the smallest. He strives to capture nature with profound feeling, as if trying to embrace it with his gigantic hands, conveying all the passion and beauty of his perception. This approach allows Bryullov to create paintings that not only impress with their detail but also evoke powerful emotions in viewers.

Alexander Herzen interpreted the political metaphor in Bryullov's work, where the people on the canvas become victims of a wild, brutal force that is futile to resist. Inspiration from the atmosphere of St. Petersburg prompted Herzen to quickly connect this social statement with tsarism and the reality of his time. He saw in the ancient image a reflection of the oppression experienced by the people and deeply understood the impact of the political situation on human destinies.

The painting was universally praised, and Bryullov became a classic in his lifetime. His works attracted attention and sparked interest among viewers, securing his place in art history.

The artist died in his beloved Italy, where he drew inspiration for his works. His famous creation is now in the State Russian Museum in St. Petersburg, where it is valued as an outstanding example of art.

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