|Intro||Russian painter (1799-1852)|
|A.K.A.||Karl Briullov, Carlo Brulleau, Carlo Brullo, K. P. Bryullóv, Briullov, Karl Brülloff, Karl Brulloff, Karl Pavlovich Brulloff, Karl Brullo, K. P. Bryullov, Karl Bruloff, Karl Bryulov, Karl Briulov, Karl Pavlovich Bryullov, Karl Bruelloff, Karl Pavlovitch Bryulov, Karl Pavlovich Briulov, Karl Brullov, Karl Pavlovich Bri︠u︡llov, Karl Pavlovich Briullov, Карл Павлович Брюллов, Charles Bruleau, Karl Pavlovič Briullov, Karl Pawloitsch Brüloff, Karl Pawlowitsch Brülow, Karl Pawlowitsch Brüloff, Karl Pavlovic Briullov, Carl Pavlovitch Brulov, K. P. Bri︠u︡llov, Karel Brjullov, Carl Bruloff|
|Birth||12 December 1799 (Saint Petersburg)|
|Death||23 June 1852 (Manziana)|
|Education||Imperial Academy of Arts|
|Notable Works||The Last Day of Pompeii|
Karl Pavlovich Bryullov (Russian: Карл Па́влович Брюлло́в; 12 December 1799 – 11 June 1852), original name Charles Bruleau, also transliterated Briullov or Briuloff and referred to by his friends as "The Great Karl", was a Russian painter. He is regarded as a key figure in transition from the Russian neoclassicism to romanticism.
Karl Bryullov was born on December, 12th (23), 1799 in St. Petersburg, in the family of the academician, woodcarver, and engraver Pavel Ivanovich Briullo (Brulleau, 1760—1833) who was of Huguenot descent. He felt drawn to Italy from his early years. Despite his education at the Imperial Academy of Arts (1809–1821), Bryullov never fully embraced the classical style taught by his mentors and promoted by his brother, Alexander Bryullov. After distinguishing himself as a promising and imaginative student and finishing his education, he left Russia for Rome where he worked until 1835 as a portraitist and genre painter, though his fame as an artist came when he began doing historical painting.
His best-known work, The Last Day of Pompeii (1830–1833), is a vast composition compared by Pushkin and Gogol to the best works of Rubens and Van Dyck. It created a sensation in Italy and established Bryullov as one of the finest European painters of his day. After completing this work, he triumphantly returned to the Russian capital, where he made many friends among the aristocracy and intellectual elite and obtained a high post in the Imperial Academy of Arts.
While teaching at the academy (1836–1848) he developed a portrait style which combined a neoclassical simplicity with a romantic tendency that fused well, and his penchant for realism was satisfied with an intriguing level of psychological penetration. While he was working on the plafond of St Isaac's Cathedral, his health suddenly deteriorated. Following advice of his doctors, Bryullov left Russia for Madeira in 1849 and spent the last three years of his life in Italy. He died in the village of Manziana near Rome and is buried at the Cimitero Acattolico there.
Italian Morning, 1823, Kunsthalle Kiel
Italian Midday, 1827, Russian Museum
Girl, gathering grapes in the vicinity of Naples, 1827, Russian Museum
A Dream of a Girl Before a Sunrise, 1830-1833, Pushkin Museum
Daughters of Pacini, Giovannina and Amazilia, 1832, Tretyakov Gallery
The Last Day of Pompeii, 1833, Russian Museum
Portrait of Sophia Andreevna Bobrinskaya (Shuvalova), 1849.