Karl Bryullov's exhibition at the Tretyakov Gallery: Rome, Moscow, St. Petersburg

Contents:

• The theme of the exhibition in the New Tretyakov Gallery: what does it reveal?
• "Roma, and I'm Home"
• Moscow: a temporary advantage over St. Petersburg
• "In this climate, I am overcome by inaction"

  "The impossibility of creativity in this climate"

  "Creative stagnation under the influence of the environment"

  "Cold climate: an obstacle to my inspiration"

  "A feeling of creative cooling in this atmosphere"

• Structure and design of the exhibition of Bryullov's works

The New Tretyakov Gallery is hosting an exhibition entitled "Karl Bryullov. Rome — Moscow — St. Petersburg”, which will be the final significant exhibition before the start of the museum reconstruction.

The event will run from June 10, 2025 to January 18, 2026.

The entrance fee varies from 450 to 900 rubles.

Working days: Tuesday through Sunday.

Opening hours: 10:00 a.m. to 9:00 p.m.

Location: New Tretyakov Gallery, 10 Krymsky Val Street, Moscow.

The theme of the exhibition at the New Tretyakov Gallery: what does it reveal?

This year marks the 225th anniversary of Karl Bryullov’s birth, and in connection with this date, Russia’s leading museums have prepared special exhibitions. The first to open its doors was the Russian Museum with an exhibition entitled "The Great Karl." A month later, the same works of art will be displayed in Moscow at a new exhibition.

The Tretyakov Gallery had to find a new approach to interpreting the artist's work. This concept centers on three cities that significantly influenced his life and work.

A key aspect of our project is the search for the artist Bryullov's "place of power." A mysterious, yet obvious, connection emerges between a person and the place where they were born and where they spend their lives. By immersing themselves in the exploration of various locations and their unique spirit, creative individuals enrich their inner world, acquiring new knowledge and experience.

The exhibition, organized by the Tretyakov Gallery, presents works of art that evoke profound reflection and emotion. The exhibition features works by both renowned masters and lesser-known, but no less talented, artists. Each piece carries a unique story and reflects various aspects of human life and culture. Visitors will be able to immerse themselves in the atmosphere of creativity, exploring the diversity of styles and techniques that demonstrate the richness of artistic heritage. This exhibition is an excellent opportunity for viewers not only to appreciate the beauty of art, but also to reflect on its significance in the modern world.

The main thing that the exhibition illustrates is exceptional skill Artist.

Bright and saturated colors invariably attract attention, but works of art created with charcoal and pencil with soft shading are no less expressive. The images, especially those in the "Italian series," are so charged with energy that they seem about to transcend their boundaries: we witness a moment that momentarily interrupts the character's actions. Even from the majestic portraits of aristocrats in luxurious clothes, real living people look at the viewer.

"Roma, and I'm home"

This description of the eternal city was left by Bryullov in 1850, when he returned to Italy for the second time and decided to stay there forever.

The period of life in Italy played a key role in the artist's biography: it was in this country that he created the paintings that made him famous.

His native St. Petersburg, where the artist spent the first 24 years of his life, imposed strict restrictions on him, forcing him to follow established rules and norms. At the beginning of his career, Karl was under the strict control of his father. It is believed that as a result of a cruel blow in childhood, he lost the hearing in one ear. His father demanded that his son draw literally for food. Later, he faced the demands of the Imperial Academy of Arts, where it was necessary to create works in accordance with traditional canons.

It is not surprising that the artist felt imprisoned, because his ardent nature and creative abilities strove to find freedom.

In 1823, Karl Bryullov visited Rome for the first time with his older brother, Alexander. This was made possible thanks to the support of the Society for the Encouragement of Artists, which financed their trip in exchange for the creation of several canvases. However, before this event, a real drama unfolded: Karl, having defended his diploma thesis, received the opportunity for an all-expenses-paid trip from the Academy. But the president of the institution intended to detain Bryullov for another three years, and under the guidance of an artist who was distinguished by neither talent nor authority.

Bryullov requested a replacement for his mentor, but when his request was rejected, he decided to abandon the trip and left the patronage of the Academy.

During his stay in Italy, the artist visited such cities as Florence, Naples, and Venice. It was there that he met his destiny—the extraordinary and eccentric wealthy widow Yulia Samoylova, who became his muse and lover. The countess not only supported his creative endeavors financially but also once rescued him from a difficult situation at a social event. In Italy, the artist spent a lot of time at her villa, located near the picturesque Lake Como.

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The visitor, while in the hall, can observe famous works from both sides, which the artist himself called the "Italian genre". These small paintings, filled with sunny, warm, and vibrant colors, depict scenes from everyday life in 19th-century Italy: harvesting, moments of rest, prayer, and dancing.

Bryullov probably associates the Eternal City with the brightest period of his life, filled with youth and energy. He not only visited Rome, but also spent a long time here. Moreover, it was in this city that he created several outstanding works of art, among which "The Last Day of Pompeii" stands out.

The great Charlemagne could only have emerged in the context of mighty Rome.

The exhibition is curated by Lyudmila Markina.

The Roman period concludes with an exhibition of the painting "The Last Day of Pompeii", which will be presented in Moscow for the first time in a quarter of a century.

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Selfies, Romance, and Symbolism: Key Aspects of Bryullov's Painting "The Last Day of Pompeii"

Karl Bryullov's painting "The Last Day of Pompeii" is an outstanding work of art that combines elements of Romanticism and Symbolism. Created in the early 19th century, this canvas captivates viewers with the dynamism and emotional intensity of its subject matter.

The painting depicts the dramatic moment when the inhabitants of Pompeii try to escape the terrible eruption of Mount Vesuvius. The artist masterfully conveys an atmosphere of panic and horror, depicting people in a variety of poses and emotions, which makes the work particularly expressive.

Furthermore, Bryullov uses light and shadow to create dramatic contrasts that emphasize the tension of the moment. Each character in the painting, whether a desperate mother with her child or a young man striving for salvation, represents human destiny in the face of the inevitable. This painting not only demonstrates the artist's technical mastery but also his profound understanding of human emotions and tragedies. "The Last Day of Pompeii" became not only an important contribution to the Romantic movement but also a significant work in the context of Russian art, influencing subsequent generations of artists. Viewers should pay attention to the details that help to better understand both the characters and the general idea of ​​the fragility of life and the grandeur of nature.

Moscow: Temporary Advantage over St. Petersburg

The artist spent twelve years in Italy, until 1835, and would hardly have thought about returning to Russia if not for the emperor's decree, which called him back to bring his resounding talent back to his homeland. His work "Pompeia" gained immense popularity throughout Europe, and all the famous newspapers wrote about Karl. Bryullov was awarded honorary membership in five foreign academies, and also received a gold medal from the French Academy of Arts.

The artist Bryullov spent several months in Moscow, during which time he became acquainted with Pushkin, and he also created many formal portraits and his romantic masterpiece "Fortune-telling Svetlana".

"I managed to meet Bryullov. I met him in the studio of a certain sculptor, with whom he was temporarily staying. He made a very positive impression on me. The artist feels melancholy, is afraid of the Russian cold and everything connected with it, dreams of Italy and is extremely dissatisfied with life in Moscow,” Pushkin shared his impressions of his meeting with the master.

"In this climate I am overcome by inaction"

"The impossibility of creativity in this climate"

"Creative stagnation under the influence of the environment"

"Cold climate: an obstacle to my inspiration"

"A feeling of creative cooling in this atmosphere"

Pushkin best characterized the master's refusal to return to court.

"Brullov is leaving me at the moment. He is heading to Petersburg with a heavy heart, experiencing fear of the climate and possible captivity. I try to support him and instill hope, but at the same time my own heart squeezes at the thought that I am a journalist. What awaits me now?.. Damn it, how unlucky I was to be born in Russia with soul and talent! "

My dear,

Today, May 18, 1836, I write to you with great excitement. Every day spent away from you seems like an eternity, and I cannot wait for the moment when I can be near you again. My thoughts constantly return to you, and I feel how much I need you.

Recently I was thinking about how quickly time flies. Remembering our moments together, I realize how they filled my life with joy and meaning. Every moment spent with you was a real gift for me. I hope that you carefully preserve all the memories of us, as I do.

Knowing that you are now busy with your own affairs, I want you to not forget about your health. You, as always, take care of others, but do not forget about yourself. I am very worried about you and want you to be happy and healthy.

I look forward to your reply. I convey to you all my love and tenderness. Remember that despite the distance, you are always in my heart.

Your faithful.

Nevertheless, in St. Petersburg, where Bryullov spent his childhood and youth, everything initially went quite well. A solemn ceremony in honor of the artist was held in the Raphael Hall of the Imperial Academy of Arts. He was greeted as a true national hero. Many sought to befriend him, and the painter found himself literally inundated with various commissions.

Nicholas I strongly urged the creation of a new historical work. The artist chose "The Siege of Pskov, carried out by the Polish King Stefan Batory in 1581" as the theme, but never completed the work. Despite the significance of the idea, it did not reach the level of Pompeii; the "genius loci" did not manifest itself here. The St. Petersburg climate and the lack of family and close friends led the artist to a state of melancholy.

Lyudmila Markina is acting as the curator of the exhibition.

In the capital, Bryullov continued to create formal portraits. Interestingly, among his works are several portraits of members of the Romanov dynasty, which are presented at the exhibition, but none of them depict the emperor or family scenes with the royal family.

The main reason was Bryullov's temperament: he had no desire to depict those who aroused his antipathy, and preferred to avoid official commissions.

There are several versions of how the Romanovs' indifference irritated the artist, leading him to leave several times with paints, demonstrating his irritation. Ultimately, this led to the emperor becoming enraged and deciding not to receive Bryullov again.

In the work "Petersburg," one of the portraits was not described in detail in the annotation. This is "Portrait of Emilia Timm at the Piano": this is the woman with whom Bryullov spent 41 days of his marriage. This quickly concluded marriage and subsequent divorce caused a great public outcry in 1839.

The reasons for the conflict remain a mystery. Despite his fame, the artist lost the support of many clients during this period and decided to leave St. Petersburg. His salvation came in the form of Countess Yulia Samoylova, who had returned from Italy. She used all her connections and organized an exhibition of works by an artist who found himself in a difficult situation.

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Bryullov could not find happiness in St. Petersburg. Ultimately, this city proved fateful for the artist: in 1843, he was commissioned to paint frescoes in St. Isaac's Cathedral.

"I imagined myself as a second Michelangelo, creating an immortal monument to his own existence," he predicted with profound meaning.

One of the gallery's halls displays sketches and drawings for the dome, which the artist was never able to complete. Work on the cathedral's frescoes continued for five years. Along the way, both disputes with the client and creative differences arose. Ultimately, everything turned into a serious cold caused by dampness and cold: Bryullov spent seven months in bed and, following the doctors' recommendations, went to Italy.

After a long absence from Rome, he had a feeling that this place would again bestow upon him unique energy, allow him to improve his health and resume his creative work. Despite the deteriorating condition of his cardiovascular system, Bryullov did not abandon painting: he continued to create portraits and genre compositions. His cheerful nature did not allow him to sink into despondency.

Lyudmila Markina is the curator of this exhibition.

"I am not going to leave anymore, I do not want to go anywhere and I will not leave my Rome." Bryullov died in 1852.

Structure and Design of the Bryullov Exhibition

The key visual element of the exhibition is the rich black color, which creates a striking contrast with the palette of the paintings, focusing the viewer's attention on them. This technique seems to suggest that the canvases are of primary importance. The paintings seem to burst out of the void and glow in the pitch darkness.

The exhibition was organized by the DK-community team, which included architects Svetlana Zezyukina, Trifon Milyaev, Nikita Morenov and Natalia Krymskaya.

The use of black in art was inspired by the painting itself. Bryullov's works, as well as Renaissance masterpieces such as Caravaggio, feature a dark background and play of light.

By reducing the background brightness, we focused on the paintings.

The vertical rows of pylons, which serve as the base for the paintings, are reminiscent of classical pilasters. These elements are made of profiled sheet metal, and the choice of this material was not accidental. We spent a long time considering how to harmoniously combine the image and its background. The answer to this question was the light reflexes created by the reflective metal, which ensured this unity.

At the bottom, under the works of art, are illuminated horizontal lightboxes. These bright stripes serve a practical function: they warn visitors not to get too close to the paintings, and they also house tickets.

Svetlana Zezyukina is an architect, co-founder of DK-community, and a teacher at the MARCH architecture school.

The architects and designers working on the exhibition spaces proposed an elegant solution for visually delineating the themes: each city was assigned a unique color and its own "street." Thus, Rome became yellow, Moscow became red, and St. Petersburg became blue. At the beginning of each "street" there is brief information about why the artist ended up in this city and what he did.

Maps indicating dates and events contribute to a deeper understanding. "The Road" guides the viewer through the exhibition, culminating in the main artwork.

Our main goal was to create a harmonious connection between the architectural solutions of the hall and the artwork presented at the exhibition, so that the overall perception became unified and complete. The architectural features of the exhibition space not only serve as a backdrop for the works but also continue the artist's creative vision.

This space features elements of classicism, evident in the ordered structure and smooth surfaces of the pylons. Romanticism, meanwhile, evokes a somber atmosphere, reminiscent of the ruined monuments of antiquity. At the same time, the exhibition is housed in a modernist hall, where the golden mesh of the glass ceiling, combined with the columns, creates the effect of a coffered ceiling typical of the Renaissance.

Svetlana Zezyukina

The exhibition has become a significant statement of the master's artistic legacy. Visitors can view both well-known works and unfinished portraits, sketches, and graphic works. Some paintings are supplemented with interactive elements for children, including tests, questions and quests.

We believe that visitors to the exhibition should not expect a complete understanding of Bryullov's biography, since the information on the stands is not provides enough facts to reveal the true reasons for his movements. We recommend reading one or two articles about the artist before your visit to gain a deeper understanding of where Bryullov felt comfortable and where he was forced to work on portraits. For example, useful materials can be found on the website kultura.rf or in an article published in the Tretyakov Gallery magazine “Lavrus”.

The exhibition ends with the second most famous work Bryullova - "The Horsewoman", impressive with its enormous dimensions, reaching 291.5 × 206 cm. This painting is located somewhat separately, which allows viewers to both begin and end their acquaintance with the exhibition with it.

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