Karl Bryullov1799–1852На исповеди
Can I see it?
Unknown
Where is “На исповеди” now? Collection: State Russian Museum, Saint Petersburg. Unknown.
Saint Petersburg, Russia
The owner is known; whether it is on view today is not.
- In this state since
- Source
- The museum
About the work
Museum text in Russian
Эта акварель упоминается в письме художника А. А. Козлова (1851). « Чуть было не забыл, — писал Козлов Брюллову,— я издал еще две литографии с ваших акварельных рисунков, находящихся у графа [П. К.] Ферзена: „Свидание“, „Исповедь“. Этими рисунками я начал [приводить в исполнение] идею издания вашего альбома: я думаю постепенно собрать, по возможности, если не все, то многие Ваши акварели, и, налитографировав, таким образом оставить дивный и разнообразный по содержанию альбом » (Архив Брюлловых. С. 171).
Известна литография А. А. Козлова (1851) с акварели «На исповеди». Н. Н. Соломатина // Великий Карл. К 225-летию со дня рождения К. П. Брюллова. СПб, 2024. С. 370.
State Russian Museum
Details
- Accession number
- Р-2231
What it shows
In the catalog
Sources
- State Russian Museum
- Image: State Russian Museum — © State Russian Museum
In the life of Karl Bryullov
The whole life1829
Breaks with the Society for the Encouragement of Artists
In response to the criticism of “Italian Noon” Bryullov broke with the Society in 1829; the many commissions that let him do without its support played no small part.
c. 1830
Meets Countess Yulia Samoilova
The time of his work on “Pompeii” is when Bryullov met Yu. P. Samoilova, an aristocrat of the Skavronsky family; for many years she was his muse and model.
c. 1830
Studies the excavations at Pompeii and Herculaneum
To convey the tragedy more accurately, Bryullov studied many literary sources, visited the excavations at Pompeii and Herculaneum and made sketches on the spot of the landscape, the ruins and the petrified figures; the canvas shows part of the Street of Tombs.
1833
“The Last Day of Pompeii” causes a sensation in Europe and Russia
Completed in 1833, the painting caused a real sensation. What was new for Russian painting was the subject itself: not an outstanding individual but a whole people in the hours of tragedy.
