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«Последний день Помпеи»

«Самая великая картина мира» или «фальш, ничтожество и пустота содержания»? Так высказывался критик Стасов о картине «Последний день Помпеи» Карла Брюллова в разные периоды своей карьеры. 

Карл Брюллов — «первая кисть государства»

Источник: https://pin.it/4OO04Gz

Карл Брюллов — единственный русский художник, удостоенный при жизни лаврового венка и бриллиантового перстня из рук императора. 

Он родился в Петербурге 23 декабря 1799 года в семье французского скульптора. Профессия художника была в семье традиционной, поэтому первым наставником Карла стал его отец. Павл Брюлло с самого раннего детства обучал сына живописи. Позже Брюллов вспоминал, как отец мог не пускать его к обеденному столу, пока он не напишет нужное количество животных или человеческих фигур.  Художник говорил, что умение «опрятно рисовать» у него родилось благодаря многочисленным тренировкам в детстве. 

Строгая отцовская подготовка помогла Брюллову: в 10 лет его без экзаменов зачислили в петербургскую Академию художеств, где он учился лучше сверстников. Когда другим ученикам позволяли только копировать рисунки, Карлу уже было разрешено писать собственные картины. На свет появился акварельный рисунок «Гений искусства», который позднее использовался как образец для натуры, который копировали ученики академии.

В мае 1823 года Карл вместе с братом Александром совершают первое путешествие в Рим. Впоследствии в Италии художник проведет около 12 лет. 

Сюжет картины  

На полотне изображены события в Помпеях во время самого масштабного извержения вулкана. В 79 году до н.э  Везувий,который считался потухшим, «проснулся» и заставил заснуть все живое в городе. 

Мы видим на полотне людей, которые пытаются спастись от разрушительной стихии. Трагедия обнажает сущность человеческих душ. Перед лицом опасности персонажи полотна делятся на два типа. Одни проявляют самоотверженность и мужество, другие — трусость и алчность.  

Художник изображает сыновей, которые несут на плечах немощного отца; молодого человека, который уговаривает мать убегать, спасаться вместе с ним. Можно заметить многочисленную группу людей на ступенях гробницы Скавра, среди которых есть и художник, в котором Брюллов представил себя. Автор изображает языческого жреца, который в страхе убегает от стихии и вора, крадущего упавшие на землю драгоценности. 

 Для написания картины художник искал итальянские типажи. Однако примечательная  деталь полотна – это то, что автор, использовал одну модель для написания картины — Юлию Самойлову. С девушкой Брюллов познакомился в Италии в 1827 году. И хотя она была русской, внешность ее отвечала его представлениям о том, как должны выглядеть итальянки. Её лицо встречается на полотне четыре раза: женщина с кувшином на голове в левой части холста;  женщина, которая пытается укрыть детей и спасти их вместе с мужем; мать, которая старается привлечь внимание своих дочерей в левом углу; разбившаяся насмерть девушка в центре. 

Источник:https://ru.m.wikipedia.org/wiki/%D0%9F%D0%BE%D1%81%D0%BB%D0%B5%D0%B4%D0%BD%D0%B8%D0%B9_%D0%B4%D0%B5%D0%BD%D1%8C_%D0%9F%D0%BE%D0%BC%D0%BF%D0%B5%D0%B8

Значимые действующие лица 

В центре полотна изображена женщина, которая выпала из кареты, и ребенок возле нее. Карл Брюллов в письме к своему брату Федору описывал картину так: «…в середине картины — упавшая женщина, лишённая чувств ; младенец на груди её, не поддерживаемый более рукою матери, ухватившись за её одежду, спокойно смотрит на живую сцену смерти; сзади сей женщины лежит сломленное колесо от колесницы, с которой упала сия женщина». 

По мнению искусствоведа Галины Леонтьевой, женщина «символизирует прекрасный, но обречённый самой историей на гибель античный мир»; в то же время дитя, тянущееся к погибшей матери, «воспринимается как аллегория нового мира, должного возникнуть на обломках прежнего, не порвав, однако, живых связей с минувшим» . 

Источник:https://ru.m.wikipedia.org/wiki/%D0%9F%D0%BE%D1%81%D0%BB%D0%B5%D0%B4%D0%BD%D0%B8%D0%B9_%D0%B4%D0%B5%D0%BD%D1%8C_%D0%9F%D0%BE%D0%BC%D0%BF%D0%B5%D0%B8

Известно, что при написании картины Брюллов читал письмо Плиния Младшего к историку Тациту, в котором тот описывал извержение Везувия. Художник, впечатленный записями, несмотря на то, что Плиний находился в Мизенах на тот момент, для усиления драматического эффекта ввел в картину сюжет, в котором изобразил немощную мать Плиния, которая пытается уговорить сына спасаться без нее. 

Источник:https://ru.m.wikipedia.org/wiki/%D0%9F%D0%BE%D1%81%D0%BB%D0%B5%D0%B4%D0%BD%D0%B8%D0%B9_%D0%B4%D0%B5%D0%BD%D1%8C_%D0%9F%D0%BE%D0%BC%D0%BF%D0%B5%D0%B8

Он также изобразил сюжет с неподвижной женщиной с двумя дочерями, чья вера в Бога настолько непоколебима, что вместо того, чтобы бежать, они направляют все свои силы в молитву. В ранних вариантах художник хотел поместить мать в другой позе(с поднятой рукой) на задний фон, а ее дочерей показать со спины. Однако он понял, что эта композиция может сыграть важную роль для раскрытия замысла картины, автор решил перенести её на первый план и внести изменения в жесты и позу матери и дочерей.

Источник:https://ru.m.wikipedia.org/wiki/%D0%9F%D0%BE%D1%81%D0%BB%D0%B5%D0%B4%D0%BD%D0%B8%D0%B9_%D0%B4%D0%B5%D0%BD%D1%8C_%D0%9F%D0%BE%D0%BC%D0%BF%D0%B5%D0%B8

Сюжетная арка с новобрачными  у правого края полотна считается одной из самых печальных сцен в картине: молодой жених,несмотря на грохот молний и разбушевавшуюся стихию,  смотрит на безжизненное лицо своей погибшей невесты, цветы в свадебном венке которой ещё не успели завять. Брюллов ввел её, чтобы показать, что бывают моменты в жизни, когда горе оказывается сильнее страха.

Источник:https://ru.m.wikipedia.org/wiki/%D0%9F%D0%BE%D1%81%D0%BB%D0%B5%D0%B4%D0%BD%D0%B8%D0%B9_%D0%B4%D0%B5%D0%BD%D1%8C_%D0%9F%D0%BE%D0%BC%D0%BF%D0%B5%D0%B8

Примечательной деталью в картине можно выделить то, что Брюллов противопоставляет языческого жреца и священника. Пока жрец с жертвенником в руках и с закрытой головой пытается скрыться от извержения, христианский священник бесстрашно смотрит навстречу молниям, будто он «готов вступить в единоборство с разбушевавшейся стихией». По мнению Алексея Савинова, образы языческого жреца и христианского священника символизируют закат древнего мира и приход новых эпох. 

Источник:https://ru.m.wikipedia.org/wiki/%D0%9F%D0%BE%D1%81%D0%BB%D0%B5%D0%B4%D0%BD%D0%B8%D0%B9_%D0%B4%D0%B5%D0%BD%D1%8C_%D0%9F%D0%BE%D0%BC%D0%BF%D0%B5%D0%B8

Контекст 

Когда Брюллов только решил начать писать картину «Последний день Помпеи», его уже считали талантливым, но он не был известен в широких кругах. Для утверждения в статусе мастера нужна была серьезная работа. 

Художник выбрал сюжет с гибелью Помпеи, так как это событие было  у всех на слуху в то время. Тогда активно велись раскопки места извержения. На сценах многих итальянских театров шла опера «L’Ultimo giorno di Pompeia», то есть «Последний день Помпеи».

Уже в 1827 году Карл Брюллов начал писать одно из своих самых масштабных произведений — «Последний день Помпеи», работа над которым заняла около шести лет.  Он посетил развалины города Помпеи, погибшего при извержении Везувия в 79 году до н.э, осмотрел раскопки, сделал наброски. 

В 1833 году картина была выставлена в Риме, в мастерской художника. Она привлекла к себе внимание всех, кто хотя бы немного разбирался в искусстве. Это был успех! У дверей дома, в котором он жил, или ресторации, в которой он работал, всегда собиралось множество людей,которые желали поприветствовать творца или пожать ему руку. 

На родине его ожидали с почестями и овациями. Евгений Баратынский писал о Брюллове: 

Принёс он мирные трофеи
С собой в отеческую сень.
И был «Последний день Помпеи»
Для русской кисти первый день. 

Судьба автора 

В 1835 году Николай I, впечатленный картиной «Последний день Помпеи», потребовал, чтобы Брюллов вернулся на Родину и занял место профессора Императорской Академии художеств. Когда художник прибыл в Москву, он получил звание младшего профессора в Академии, где руководил классом исторической живописи. 

Через восемь лет в 1843 году Брюллову была поручена роспись плафонов купола только что построенного Исаакиевского собора. Площадь сферического плафона составляла более 800 квадратных метров. Стоя на лесах, художник шутил: «Мне тесно! Я бы теперь расписал небо!» Штукатурка была еще сырой, плохо ложился грунт, отслаивалась краска. Некоторые изображения приходилось перерисовывать. В помещении было влажно, прохладно и гуляли сквозняки. К тому же в самом храме тесали мрамор и гранит и в воздухе стояла мелкая пыль. Из-за ужасных условиях Брюллов серьезно заболел и был вынужден просить об освобождении от работ. По его эскизам  роспись купола заканчивал уже другой художник – Петр Басин. 

В 1849 году Карл Брюллов отправился на лечение за границу на остров Мадейра, а затем в Италию, где и провел последние годы. Художник умер недалеко от Рима, в Манциане. Он был похоронен на римском протестантском кладбище Монте-Тестаччо. 

Автор: Ульбашева Джамиля 

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