Perseus and Andromeda

• Study (?)
• 1810s
• Canvas, oil. 43,7 х 28,6
• The State Russian Museum
• Ж-3361

Narcissus, Looking into the Water

• 1918
• Canvas, oil. 162 x 209,5
• The State Russian Museum
• Ж-5074

The subject is taken from the third book of Ovid's “Metamorphoses”. Narcissus, a handsome young man from Festia or Lacedaemon, was the son of the nymph Liriope and Cephissus. It was predicted to his mother that he would live to a great age, if he did not see his own face. As a boy Narcissus often hunted in the woods. On one hot afternoon, weary from the heat, Narcissus bent over the source to quench his thirst and saw his face. According to Ovid: “While he is drinking he beholds himself reflected in the mirrored pool — and loves...” Having forgotten about sleep and food, Narcissus, who had never loved anyone, spent days and nights on the shore, admiring his reflection, and died of sorrow. The gods turned him into a flower, which became known as a Narcissus.

This painting is recognized as one of the best K.P. Brullov’s works of the period of his studies at the Academy of Arts. In 1819, in the class of Andrey Ivanov a male figure was "presented" as a task for painters – a figure of a reclining young man, leaning over the water. According to the memoirs of contemporaries, the artist painted the landscape background in the Park of the Stroganovs’ dacha on the Chernaya river. In 1819 for this painting Brullov received a gold medal of the second rank.

"Metamorphoses" (Lat.) – a poem by the Roman poet Ovid consisting of fifteen books, which focuses on various transformations that have occurred since the creation of the world, according to Greek and Roman mythologies. The poem was written by Ovid in Rome between 2 and 8 years A.D.

Portrait of a Young Man

• 1820s
• Canvas, oil. 43,5 x 35
• The State Russian Museum
• Ж-5076

Portrait of the Artist’s Elder Brother, the Architect and Painter Alexander Brullov

• Canvas, oil.
• The State Russian Museum
• Ж-5080

Abraham’s Vision of God in the Form of Three Angels at the Oaks of Mamre

• 1821
• Canvas, oil. 113 х 144
• The State Russian Museum
• Ж-5075

A Girl Picking Grapes in the Environs of Naples

• 1827
• Canvas, oil. 62 x 52,5
• The State Russian Museum
• Ж-5078

Portrait of K. A. and M. Y. Naryshkins

• 1827
• Paper, watercolours, white pigment, graphite pencil. 46 х 36,5
• The State Russian Museum
• Р-13101

Together with count M. D. Nesselrode, prince A. N. Golitsyn and F. I. Samarin, K. A. Naryshkin was among the customers of K. P. Brullov, about which the artist reported to the Society for the Encouragement of Artists in July 1825.

Naryshkin Kirill Aleksandrovich (1786–1838) — chief marshal of the court. In 1805 visited China together with the embassy of the count Y. A. Golovkin. Chamberlain (1826), the marshal and the president of the Court office, since 1834 — chief marshal of the court. In 1834 was appointed member of the State Council. Member of the Society for the Encouragement of Artists (1822).

Naryshkina Maria Yakovlevna (1789–1854), née princess Lobanova-Rostovskaya, wife of K. A. Naryshkin.

Портрет князя Г. Г. Гагарина

• 1829
• Paper, watercolours, graphite pencil.
• The State Russian Museum
• Р-2228

Dream of a Grandmother and Granddaughter

• 1829
• Paper, watercolours, bronze, varnish. 22,5 x 27,4
• The State Russian Museum
• Р-2275

Dream of a Grandmother and Granddaughter is a humorous and ironic disclosure of the secret thoughts and dreams that people take great pains to hide in daily life. The light frivolity and erotica typical of many of Brullov’s works permeate the dreams of the two heroines of this watercolour. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 124.

Bathsheba

• Version of Bathsheba (1832, Tret. Gal.)
• 1830s (?)
• Canvas, oil. 87,5 х 61,5
• The State Russian Museum
• Ж-5083

According to the Bible, Bathsheba was the wife of King David. Bathsheba is generally depicted in art next to a spring, attended by a maid and a negro boy. This was a subject highly popular in European painting as a specific hymn of praise to female beauty and this is how it was painted by Brullov. The artist, however, also interprets the biblical scene in the spirit of the "Italian genre", which was popular in Russian art in the 1840s. The canvas appears to have been painted in the early 1830s in Italy. A large unfinished picture by Brullov on the same subject hangs in the State Tretyakov Gallery in Moscow.

Portrait of Elena Ton, Wife of the Architect Konstantin Ton

• Canvas, oil.
• The State Russian Museum
• Ж-5094

Portrait of Grand Duchess Elena Pavlovna, née Princess Friederike Charlotte of Württemberg, Wife of Grand Duke Mikhail Pavlovich, with her Daughter Grand Duchess Maria Mikhailovna

• 1830
• Canvas, oil. 265 x 185
• The State Russian Museum
• Ж-5082

Grand Duchess Elena Pavlovna (1806–1873), born Princess Friederike Charlotte Marie of Württemberg, became the wife of Grand Duke Michael Pavlovich in 1824. She was educated in Paris at a private boarding school. She was famous for her charity work. During the Crimean War, she organised the Holy Cross Fellowship of Sisters of Mercy, which would become the prototype for the Red Cross. She was a patroness of composers, musicians, writers, and scientists. In 1858, she began the first conservatory classes led by composer and conductor Anton Rubinstein at her home in the Mikhailovsky Palace. She was one of the founders of the Russian Musical Society (1859). She was a strong supporter of liberal reforms and contributed to the liberation of peasants from serfdom.

Portrait of the Archbishop and Writer Giuseppe Capecelatro

• Canvas, oil.
• The State Russian Museum
• Ж-5101

Nun’s Dream

• 1831
• Cardboard, watercolours, graphite pencil, varnish. 22,5 х 27,4
• The State Russian Museum
• Р-2175

Masterfully executed by the artist genre scenes were extremely popular in their time. People found in them exploration of new themes, freedom from conventions, and luxury of craftsmanship. It is the precise watercolour and sepia technique itself that attracts in them.

Looking for the new, unusual, attractive, and sometimes "enticing", Brullov was often balancing on the verge of good taste. In his legacy there are works ("Grandmother and Granddaughter’s Dream", "Dream of a Nun" and others), funny and entertaining in their openness and amazing due to fantastic craftsmanship of Brullov-watercolourist.

This is the kind of watercolour works by Brullov, which, along with some of his paintings, served to spread salon creations in art. The artist turned out to have a lot of imitators, varying or slightly modifying themes opened by him, his graphic methods. Humorous genres of Brullov enriched the entire industry of salon art, although perhaps did not belong to it themselves.

Portrait of Her Highness Princess E.P. Saltykova

• 1833–1835
• Cardboard, watercolours, graphite pencil, ink, nib. 44,4 x 33
• The State Russian Museum
• Р-13100

A typical example of the common in the first half of the 19th century commissioned portrait, executed in the finest watercolour technique, in which Karl Brullov was so brilliant.

Her Highness Princess Elizaveta Pavlovna Saltykova (née countess Stroganova; 1802–1863) — the daughter of the adjutant general P. A. Stroganov (1774–1817) and his wife Sophia Vladimirovna (nee Galitsyna; 1775–1845), elder sister of countess O. P. Fersen. Was married to His Highness Prince I.D. Saltykov (1797–1832).

Self-Portrait

• 1833
• Canvas, oil. 56,5 x 43
• The State Russian Museum
• Ж-5077

The Last Day of Pompeii

• 1833
• Canvas, oil. 456,5 x 651
• The State Russian Museum
• Ж-5084

The subject of the canvas is the destruction of the ancient Roman town of Pompeii during an eruption of the volcano Vesuvius in the year 79 AD. Brullov’s historical sources were the letters written by the ancient Roman historian Pliny the Younger, a witness of the catastrophe, to Tacitus, and a study of the ruins of Pompeii, where archaeological excavations had begun in the middle of the eighteenth century. The scene of the action is the Strada dei Sepolcri (Road of Tombs), the Pompeii necropolis and a kilometre perspective from the Gates of Hercules to the Villa Diomedes in the direction of the Villa of Mysteries. The Last Day of Pompeii was exhibited at the Pinacoteca di Brera in Milan in 1833. It was then sent to the annual Paris Salon, which had opened in the Louvre in March 1834, winning Brullov a first gold medal. The painting was shown at the Imperial Hermitage in St Petersburg in 1834 and at a special exhibition organized by the Imperial Academy of Arts in 1835. Among the characters in the painting, Brullov depicts himself (the artist on the steps of the temple) and Countess Yulia Samoilova (the mother embracing her daughter). Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 136.

The Death of Inês de Castro, Morganatic Wife of Don Pedro, Infant of Portugal

• 1834
• Canvas, oil. 213 х 290,5
• The State Russian Museum
• Ж-5085

The painting is based on an event from Portuguese history described in Luís de Cam es epic poem Os Lusíadas. Inês de Castro was the morganatic wife of Pedro, son of King Afonso IV who was killed by the courtiers lvaro Gonçalves, Pêro Coelho and Lopes Pacheco with the agreement of Alfonso IV. Karl Brullov is known to have painted the picture in the space of seventeen days in Milan in 1834. It was then exhibited at the Pinacoteca di Brera that same year.

Portrait of Countess Olga Pavlovna Fersen on a Donkey

• 1835
• Paper, watercolours, graphite pencil. 52,5 х 40
• The State Russian Museum
• Р-13102

Spouses Fersen and Brullov were tied by quite a close friendship. The collection of P. K. Fersen included many of his works. In March 1835 O. P. Fersen, having learned about the artist's intention to set off to travel to the East, wrote to him from Naples: "We hope and surely not in vain, that you will come to us to say goodbye, having the intention to undertake such a long journey. Your arrival would prove to me that my requests are all-powerful over you, which is something you assured me of so pleasantly... We are waiting for you with impatience and hope that you will agree to spend three or four days with your old friends".

Along with this work Brullov also created a portrait of O.P. Fersen and a watercolour portrait of the count P. K. Fersen (1800–1884).

Olga Pavlovna Fersen (née Stroganova, 1808–1837) — a daughter of the adjutant general P. A. Stroganov (1774–1817) and his wife Sophia Vladimirovna (née Golitsyna; 1775–1845), the younger sister of Her Highness Princess E. P. Saltykova.

Портрет В. А. Корнилова на борту брига «Фемистокл»

• Paper, watercolours, graphite pencil.
• The State Russian Museum
• Р-42271

Brullov (Bruleau) Karl Pavlovich

Painter, watercolourist, draughtsman, history painter, portraitist, genre painter, mural painter. Born into an artistic family. Studied under Anton Ivanov, Alexei Yegorov and Vasily Shebuyev at the Imperial Academy of Arts (1809-22), graduated with a first-class gold medal. Sent to Italy by the Society for the Encouragement of Arts (1822-35). Worked in Milan, Naples and Rome. Won fame in Europe as a portraitist and history painter for such works as The Last Day of Pompeii (1827-33, Russian Museum. St Petersburg)- Returned to Russia and lived in St Petersburg. Honorary freeman (1834), second-degree professor (1835) and first-degree professor (1846) of the Imperial Academy of Arts, where he taught history painting, enjoying the love and respect of his many students. Professor of the Accademia di Belle Arti in Florence. Contributed to exhibitions in Rome, Milan, Paris and St Petersburg. Went abroad on the advice of doctors (1849), settled in Italy (1850).

Perseus and Andromeda

• Study (?)
• 1810s
• Canvas, oil. 43,7 х 28,6
• The State Russian Museum
• Ж-3361

Narcissus, Looking into the Water

• 1918
• Canvas, oil. 162 x 209,5
• The State Russian Museum
• Ж-5074

The subject is taken from the third book of Ovid's “Metamorphoses”. Narcissus, a handsome young man from Festia or Lacedaemon, was the son of the nymph Liriope and Cephissus. It was predicted to his mother that he would live to a great age, if he did not see his own face. As a boy Narcissus often hunted in the woods. On one hot afternoon, weary from the heat, Narcissus bent over the source to quench his thirst and saw his face. According to Ovid: “While he is drinking he beholds himself reflected in the mirrored pool — and loves...” Having forgotten about sleep and food, Narcissus, who had never loved anyone, spent days and nights on the shore, admiring his reflection, and died of sorrow. The gods turned him into a flower, which became known as a Narcissus.

This painting is recognized as one of the best K.P. Brullov’s works of the period of his studies at the Academy of Arts. In 1819, in the class of Andrey Ivanov a male figure was "presented" as a task for painters – a figure of a reclining young man, leaning over the water. According to the memoirs of contemporaries, the artist painted the landscape background in the Park of the Stroganovs’ dacha on the Chernaya river. In 1819 for this painting Brullov received a gold medal of the second rank.

"Metamorphoses" (Lat.) – a poem by the Roman poet Ovid consisting of fifteen books, which focuses on various transformations that have occurred since the creation of the world, according to Greek and Roman mythologies. The poem was written by Ovid in Rome between 2 and 8 years A.D.

Portrait of a Young Man

• 1820s
• Canvas, oil. 43,5 x 35
• The State Russian Museum
• Ж-5076

Portrait of the Artist’s Elder Brother, the Architect and Painter Alexander Brullov

• Canvas, oil.
• The State Russian Museum
• Ж-5080

Abraham’s Vision of God in the Form of Three Angels at the Oaks of Mamre

• 1821
• Canvas, oil. 113 х 144
• The State Russian Museum
• Ж-5075

A Girl Picking Grapes in the Environs of Naples

• 1827
• Canvas, oil. 62 x 52,5
• The State Russian Museum
• Ж-5078

Bathsheba

• Version of Bathsheba (1832, Tret. Gal.)
• 1830s (?)
• Canvas, oil. 87,5 х 61,5
• The State Russian Museum
• Ж-5083

According to the Bible, Bathsheba was the wife of King David. Bathsheba is generally depicted in art next to a spring, attended by a maid and a negro boy. This was a subject highly popular in European painting as a specific hymn of praise to female beauty and this is how it was painted by Brullov. The artist, however, also interprets the biblical scene in the spirit of the "Italian genre", which was popular in Russian art in the 1840s. The canvas appears to have been painted in the early 1830s in Italy. A large unfinished picture by Brullov on the same subject hangs in the State Tretyakov Gallery in Moscow.

Portrait of Elena Ton, Wife of the Architect Konstantin Ton

• Canvas, oil.
• The State Russian Museum
• Ж-5094

Portrait of Grand Duchess Elena Pavlovna, née Princess Friederike Charlotte of Württemberg, Wife of Grand Duke Mikhail Pavlovich, with her Daughter Grand Duchess Maria Mikhailovna

• 1830
• Canvas, oil. 265 x 185
• The State Russian Museum
• Ж-5082

Grand Duchess Elena Pavlovna (1806–1873), born Princess Friederike Charlotte Marie of Württemberg, became the wife of Grand Duke Michael Pavlovich in 1824. She was educated in Paris at a private boarding school. She was famous for her charity work. During the Crimean War, she organised the Holy Cross Fellowship of Sisters of Mercy, which would become the prototype for the Red Cross. She was a patroness of composers, musicians, writers, and scientists. In 1858, she began the first conservatory classes led by composer and conductor Anton Rubinstein at her home in the Mikhailovsky Palace. She was one of the founders of the Russian Musical Society (1859). She was a strong supporter of liberal reforms and contributed to the liberation of peasants from serfdom.

Portrait of the Archbishop and Writer Giuseppe Capecelatro

• Canvas, oil.
• The State Russian Museum
• Ж-5101

Self-Portrait

• 1833
• Canvas, oil. 56,5 x 43
• The State Russian Museum
• Ж-5077

The Last Day of Pompeii

• 1833
• Canvas, oil. 456,5 x 651
• The State Russian Museum
• Ж-5084

The subject of the canvas is the destruction of the ancient Roman town of Pompeii during an eruption of the volcano Vesuvius in the year 79 AD. Brullov’s historical sources were the letters written by the ancient Roman historian Pliny the Younger, a witness of the catastrophe, to Tacitus, and a study of the ruins of Pompeii, where archaeological excavations had begun in the middle of the eighteenth century. The scene of the action is the Strada dei Sepolcri (Road of Tombs), the Pompeii necropolis and a kilometre perspective from the Gates of Hercules to the Villa Diomedes in the direction of the Villa of Mysteries. The Last Day of Pompeii was exhibited at the Pinacoteca di Brera in Milan in 1833. It was then sent to the annual Paris Salon, which had opened in the Louvre in March 1834, winning Brullov a first gold medal. The painting was shown at the Imperial Hermitage in St Petersburg in 1834 and at a special exhibition organized by the Imperial Academy of Arts in 1835. Among the characters in the painting, Brullov depicts himself (the artist on the steps of the temple) and Countess Yulia Samoilova (the mother embracing her daughter). Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 136.

The Death of Inês de Castro, Morganatic Wife of Don Pedro, Infant of Portugal

• 1834
• Canvas, oil. 213 х 290,5
• The State Russian Museum
• Ж-5085

The painting is based on an event from Portuguese history described in Luís de Cam es epic poem Os Lusíadas. Inês de Castro was the morganatic wife of Pedro, son of King Afonso IV who was killed by the courtiers lvaro Gonçalves, Pêro Coelho and Lopes Pacheco with the agreement of Alfonso IV. Karl Brullov is known to have painted the picture in the space of seventeen days in Milan in 1834. It was then exhibited at the Pinacoteca di Brera that same year.

Портрет автора и баронессы Екатерины Николаевны Меллер-Закомельской с девочкой в лодке

• 1830s
• Canvas, oil. 151,5 х 190,3
• The State Russian Museum
• Ж-5086

Alexei Perovsky, Pseudonym Anthony Pogorelsky

• 1836
• Canvas, oil. 136 x 104
• The State Russian Museum
• Ж-5088

Portrait of Count Alexei Tolstoy in his Youth

• 1836
• Canvas, oil. 134 x 104
• The State Russian Museum
• Ж-5089

Portrait of Count Alexei Tolstoy in his Youth was painted at Count Alexei Perovsky’s house in Moscow. Count Alexei Konstantinovich Tolstoy (1817–1875): Master of the hunt, poet and playwright. Son of Count Konstantin Tolstoy (1779–1870) and Anna Tolstaya (died 1857). Raised by his uncle, Count Alexei Perovsky. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 136.

Portrait of Empress Alexandra Fyodorovna and her Daughter, Grand Duchess Maria Nikolaevna, Horse Riding in the Peterhof Park

• Modello for an unpainted portrait
• 1837
• Canvas, oil. 89 x 70,5
• The State Russian Museum
• Ж-3375

Portrait of Empress Alexandra Fyodorovna, Wife of Nicholas I

• Modello for an unpainted group portrait of the family of Nicholas I
• 1837
• Canvas, oil.
• The State Russian Museum
• Ж-5409

Portrait of Grand Duchess Maria Nikolaevna, Eldest Daughter of Nicholas I and Later Wife of Duke Maximilian Josephe Eugene of Leuchtenberg and Count Grigory Stroganov

• Modello for an unpainted group portrait of the family of Nicholas I; study version (Tret. Gal.)
• 1837
• Canvas, oil.
• The State Russian Museum
• Ж-3342

The Crucifixion

• Altarpiece of the Lutheran Church of St Peter and St Paul in St Petersburg
• 1838
• Canvas, oil.
• The State Russian Museum
• Ж-5646

Portrait of K. A. and M. Y. Naryshkins

• 1827
• Paper, watercolours, white pigment, graphite pencil. 46 х 36,5
• The State Russian Museum
• Р-13101

Together with count M. D. Nesselrode, prince A. N. Golitsyn and F. I. Samarin, K. A. Naryshkin was among the customers of K. P. Brullov, about which the artist reported to the Society for the Encouragement of Artists in July 1825.

Naryshkin Kirill Aleksandrovich (1786–1838) — chief marshal of the court. In 1805 visited China together with the embassy of the count Y. A. Golovkin. Chamberlain (1826), the marshal and the president of the Court office, since 1834 — chief marshal of the court. In 1834 was appointed member of the State Council. Member of the Society for the Encouragement of Artists (1822).

Naryshkina Maria Yakovlevna (1789–1854), née princess Lobanova-Rostovskaya, wife of K. A. Naryshkin.

Портрет князя Г. Г. Гагарина

• 1829
• Paper, watercolours, graphite pencil.
• The State Russian Museum
• Р-2228

Dream of a Grandmother and Granddaughter

• 1829
• Paper, watercolours, bronze, varnish. 22,5 x 27,4
• The State Russian Museum
• Р-2275

Dream of a Grandmother and Granddaughter is a humorous and ironic disclosure of the secret thoughts and dreams that people take great pains to hide in daily life. The light frivolity and erotica typical of many of Brullov’s works permeate the dreams of the two heroines of this watercolour. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 124.

Nun’s Dream

• 1831
• Cardboard, watercolours, graphite pencil, varnish. 22,5 х 27,4
• The State Russian Museum
• Р-2175

Masterfully executed by the artist genre scenes were extremely popular in their time. People found in them exploration of new themes, freedom from conventions, and luxury of craftsmanship. It is the precise watercolour and sepia technique itself that attracts in them.

Looking for the new, unusual, attractive, and sometimes "enticing", Brullov was often balancing on the verge of good taste. In his legacy there are works ("Grandmother and Granddaughter’s Dream", "Dream of a Nun" and others), funny and entertaining in their openness and amazing due to fantastic craftsmanship of Brullov-watercolourist.

This is the kind of watercolour works by Brullov, which, along with some of his paintings, served to spread salon creations in art. The artist turned out to have a lot of imitators, varying or slightly modifying themes opened by him, his graphic methods. Humorous genres of Brullov enriched the entire industry of salon art, although perhaps did not belong to it themselves.

Portrait of Her Highness Princess E.P. Saltykova

• 1833–1835
• Cardboard, watercolours, graphite pencil, ink, nib. 44,4 x 33
• The State Russian Museum
• Р-13100

A typical example of the common in the first half of the 19th century commissioned portrait, executed in the finest watercolour technique, in which Karl Brullov was so brilliant.

Her Highness Princess Elizaveta Pavlovna Saltykova (née countess Stroganova; 1802–1863) — the daughter of the adjutant general P. A. Stroganov (1774–1817) and his wife Sophia Vladimirovna (nee Galitsyna; 1775–1845), elder sister of countess O. P. Fersen. Was married to His Highness Prince I.D. Saltykov (1797–1832).

Portrait of Countess Olga Pavlovna Fersen on a Donkey

• 1835
• Paper, watercolours, graphite pencil. 52,5 х 40
• The State Russian Museum
• Р-13102

Spouses Fersen and Brullov were tied by quite a close friendship. The collection of P. K. Fersen included many of his works. In March 1835 O. P. Fersen, having learned about the artist's intention to set off to travel to the East, wrote to him from Naples: "We hope and surely not in vain, that you will come to us to say goodbye, having the intention to undertake such a long journey. Your arrival would prove to me that my requests are all-powerful over you, which is something you assured me of so pleasantly... We are waiting for you with impatience and hope that you will agree to spend three or four days with your old friends".

Along with this work Brullov also created a portrait of O.P. Fersen and a watercolour portrait of the count P. K. Fersen (1800–1884).

Olga Pavlovna Fersen (née Stroganova, 1808–1837) — a daughter of the adjutant general P. A. Stroganov (1774–1817) and his wife Sophia Vladimirovna (née Golitsyna; 1775–1845), the younger sister of Her Highness Princess E. P. Saltykova.

Портрет В. А. Корнилова на борту брига «Фемистокл»

• Paper, watercolours, graphite pencil.
• The State Russian Museum
• Р-42271

Бахчисарайский фонтан

• 1838 (?)
• Paper, nib, graphite pencil. 13,5 x 10,2
• The State Russian Museum
• Р-2242

Бичевание Спасителя

• 1843–1848
• Cardboard, italian pencil. 382 х 280
• The State Russian Museum
• Р-39891

Несение креста

• 1848 - 1850
• Cardboard, italian pencil. 353 x 265
• The State Russian Museum
• Р-39893

Пожар Москвы. Наполеон покидает Кремль

• 1850–1852
• Paper, graphite pencil. 10,7 х 16,4
• The State Russian Museum
• Р-127

Пожар Москвы. Наполеон покидает Кремль. Наполеон у окна

• 1850–1852
• Paper, graphite pencil. 25,5 х 33
• The State Russian Museum
• Р-28931

Perseus and Andromeda

• Study (?)
• 1810s
• Canvas, oil. 43,7 х 28,6
• The State Russian Museum
• Ж-3361

Narcissus, Looking into the Water

• 1918
• Canvas, oil. 162 x 209,5
• The State Russian Museum
• Ж-5074

The subject is taken from the third book of Ovid's “Metamorphoses”. Narcissus, a handsome young man from Festia or Lacedaemon, was the son of the nymph Liriope and Cephissus. It was predicted to his mother that he would live to a great age, if he did not see his own face. As a boy Narcissus often hunted in the woods. On one hot afternoon, weary from the heat, Narcissus bent over the source to quench his thirst and saw his face. According to Ovid: “While he is drinking he beholds himself reflected in the mirrored pool — and loves...” Having forgotten about sleep and food, Narcissus, who had never loved anyone, spent days and nights on the shore, admiring his reflection, and died of sorrow. The gods turned him into a flower, which became known as a Narcissus.

This painting is recognized as one of the best K.P. Brullov’s works of the period of his studies at the Academy of Arts. In 1819, in the class of Andrey Ivanov a male figure was "presented" as a task for painters – a figure of a reclining young man, leaning over the water. According to the memoirs of contemporaries, the artist painted the landscape background in the Park of the Stroganovs’ dacha on the Chernaya river. In 1819 for this painting Brullov received a gold medal of the second rank.

"Metamorphoses" (Lat.) – a poem by the Roman poet Ovid consisting of fifteen books, which focuses on various transformations that have occurred since the creation of the world, according to Greek and Roman mythologies. The poem was written by Ovid in Rome between 2 and 8 years A.D.

Abraham’s Vision of God in the Form of Three Angels at the Oaks of Mamre

• 1821
• Canvas, oil. 113 х 144
• The State Russian Museum
• Ж-5075

Portrait of a Young Man

• 1820s
• Canvas, oil. 43,5 x 35
• The State Russian Museum
• Ж-5076

Portrait of the Artist’s Elder Brother, the Architect and Painter Alexander Brullov

• Canvas, oil.
• The State Russian Museum
• Ж-5080

A Girl Picking Grapes in the Environs of Naples

• 1827
• Canvas, oil. 62 x 52,5
• The State Russian Museum
• Ж-5078

Портрет князя Г. Г. Гагарина

• 1829
• Paper, watercolours, graphite pencil.
• The State Russian Museum
• Р-2228

Dream of a Grandmother and Granddaughter

• 1829
• Paper, watercolours, bronze, varnish. 22,5 x 27,4
• The State Russian Museum
• Р-2275

Dream of a Grandmother and Granddaughter is a humorous and ironic disclosure of the secret thoughts and dreams that people take great pains to hide in daily life. The light frivolity and erotica typical of many of Brullov’s works permeate the dreams of the two heroines of this watercolour. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 124.

Bathsheba

• Version of Bathsheba (1832, Tret. Gal.)
• 1830s (?)
• Canvas, oil. 87,5 х 61,5
• The State Russian Museum
• Ж-5083

According to the Bible, Bathsheba was the wife of King David. Bathsheba is generally depicted in art next to a spring, attended by a maid and a negro boy. This was a subject highly popular in European painting as a specific hymn of praise to female beauty and this is how it was painted by Brullov. The artist, however, also interprets the biblical scene in the spirit of the "Italian genre", which was popular in Russian art in the 1840s. The canvas appears to have been painted in the early 1830s in Italy. A large unfinished picture by Brullov on the same subject hangs in the State Tretyakov Gallery in Moscow.

Portrait of Grand Duchess Elena Pavlovna, née Princess Friederike Charlotte of Württemberg, Wife of Grand Duke Mikhail Pavlovich, with her Daughter Grand Duchess Maria Mikhailovna

• 1830
• Canvas, oil. 265 x 185
• The State Russian Museum
• Ж-5082

Grand Duchess Elena Pavlovna (1806–1873), born Princess Friederike Charlotte Marie of Württemberg, became the wife of Grand Duke Michael Pavlovich in 1824. She was educated in Paris at a private boarding school. She was famous for her charity work. During the Crimean War, she organised the Holy Cross Fellowship of Sisters of Mercy, which would become the prototype for the Red Cross. She was a patroness of composers, musicians, writers, and scientists. In 1858, she began the first conservatory classes led by composer and conductor Anton Rubinstein at her home in the Mikhailovsky Palace. She was one of the founders of the Russian Musical Society (1859). She was a strong supporter of liberal reforms and contributed to the liberation of peasants from serfdom.

Portrait of the Archbishop and Writer Giuseppe Capecelatro

• Canvas, oil.
• The State Russian Museum
• Ж-5101

Nun’s Dream

• 1831
• Cardboard, watercolours, graphite pencil, varnish. 22,5 х 27,4
• The State Russian Museum
• Р-2175

Masterfully executed by the artist genre scenes were extremely popular in their time. People found in them exploration of new themes, freedom from conventions, and luxury of craftsmanship. It is the precise watercolour and sepia technique itself that attracts in them.

Looking for the new, unusual, attractive, and sometimes "enticing", Brullov was often balancing on the verge of good taste. In his legacy there are works ("Grandmother and Granddaughter’s Dream", "Dream of a Nun" and others), funny and entertaining in their openness and amazing due to fantastic craftsmanship of Brullov-watercolourist.

This is the kind of watercolour works by Brullov, which, along with some of his paintings, served to spread salon creations in art. The artist turned out to have a lot of imitators, varying or slightly modifying themes opened by him, his graphic methods. Humorous genres of Brullov enriched the entire industry of salon art, although perhaps did not belong to it themselves.

Portrait of Her Highness Princess E.P. Saltykova

• 1833–1835
• Cardboard, watercolours, graphite pencil, ink, nib. 44,4 x 33
• The State Russian Museum
• Р-13100

A typical example of the common in the first half of the 19th century commissioned portrait, executed in the finest watercolour technique, in which Karl Brullov was so brilliant.

Her Highness Princess Elizaveta Pavlovna Saltykova (née countess Stroganova; 1802–1863) — the daughter of the adjutant general P. A. Stroganov (1774–1817) and his wife Sophia Vladimirovna (nee Galitsyna; 1775–1845), elder sister of countess O. P. Fersen. Was married to His Highness Prince I.D. Saltykov (1797–1832).

Self-Portrait

• 1833
• Canvas, oil. 56,5 x 43
• The State Russian Museum
• Ж-5077

The Last Day of Pompeii

• 1833
• Canvas, oil. 456,5 x 651
• The State Russian Museum
• Ж-5084

The subject of the canvas is the destruction of the ancient Roman town of Pompeii during an eruption of the volcano Vesuvius in the year 79 AD. Brullov’s historical sources were the letters written by the ancient Roman historian Pliny the Younger, a witness of the catastrophe, to Tacitus, and a study of the ruins of Pompeii, where archaeological excavations had begun in the middle of the eighteenth century. The scene of the action is the Strada dei Sepolcri (Road of Tombs), the Pompeii necropolis and a kilometre perspective from the Gates of Hercules to the Villa Diomedes in the direction of the Villa of Mysteries. The Last Day of Pompeii was exhibited at the Pinacoteca di Brera in Milan in 1833. It was then sent to the annual Paris Salon, which had opened in the Louvre in March 1834, winning Brullov a first gold medal. The painting was shown at the Imperial Hermitage in St Petersburg in 1834 and at a special exhibition organized by the Imperial Academy of Arts in 1835. Among the characters in the painting, Brullov depicts himself (the artist on the steps of the temple) and Countess Yulia Samoilova (the mother embracing her daughter). Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 136.

The Death of Inês de Castro, Morganatic Wife of Don Pedro, Infant of Portugal

• 1834
• Canvas, oil. 213 х 290,5
• The State Russian Museum
• Ж-5085

The painting is based on an event from Portuguese history described in Luís de Cam es epic poem Os Lusíadas. Inês de Castro was the morganatic wife of Pedro, son of King Afonso IV who was killed by the courtiers lvaro Gonçalves, Pêro Coelho and Lopes Pacheco with the agreement of Alfonso IV. Karl Brullov is known to have painted the picture in the space of seventeen days in Milan in 1834. It was then exhibited at the Pinacoteca di Brera that same year.

Портрет автора и баронессы Екатерины Николаевны Меллер-Закомельской с девочкой в лодке

• 1830s
• Canvas, oil. 151,5 х 190,3
• The State Russian Museum
• Ж-5086

Portrait of a Young Man

• 1820s
• Canvas, oil. 43,5 x 35
• The State Russian Museum
• Ж-5076

Portrait of the Artist’s Elder Brother, the Architect and Painter Alexander Brullov

• Canvas, oil.
• The State Russian Museum
• Ж-5080

Portrait of K. A. and M. Y. Naryshkins

• 1827
• Paper, watercolours, white pigment, graphite pencil. 46 х 36,5
• The State Russian Museum
• Р-13101

Together with count M. D. Nesselrode, prince A. N. Golitsyn and F. I. Samarin, K. A. Naryshkin was among the customers of K. P. Brullov, about which the artist reported to the Society for the Encouragement of Artists in July 1825.

Naryshkin Kirill Aleksandrovich (1786–1838) — chief marshal of the court. In 1805 visited China together with the embassy of the count Y. A. Golovkin. Chamberlain (1826), the marshal and the president of the Court office, since 1834 — chief marshal of the court. In 1834 was appointed member of the State Council. Member of the Society for the Encouragement of Artists (1822).

Naryshkina Maria Yakovlevna (1789–1854), née princess Lobanova-Rostovskaya, wife of K. A. Naryshkin.

Портрет князя Г. Г. Гагарина

• 1829
• Paper, watercolours, graphite pencil.
• The State Russian Museum
• Р-2228

Portrait of Elena Ton, Wife of the Architect Konstantin Ton

• Canvas, oil.
• The State Russian Museum
• Ж-5094

Portrait of Grand Duchess Elena Pavlovna, née Princess Friederike Charlotte of Württemberg, Wife of Grand Duke Mikhail Pavlovich, with her Daughter Grand Duchess Maria Mikhailovna

• 1830
• Canvas, oil. 265 x 185
• The State Russian Museum
• Ж-5082

Grand Duchess Elena Pavlovna (1806–1873), born Princess Friederike Charlotte Marie of Württemberg, became the wife of Grand Duke Michael Pavlovich in 1824. She was educated in Paris at a private boarding school. She was famous for her charity work. During the Crimean War, she organised the Holy Cross Fellowship of Sisters of Mercy, which would become the prototype for the Red Cross. She was a patroness of composers, musicians, writers, and scientists. In 1858, she began the first conservatory classes led by composer and conductor Anton Rubinstein at her home in the Mikhailovsky Palace. She was one of the founders of the Russian Musical Society (1859). She was a strong supporter of liberal reforms and contributed to the liberation of peasants from serfdom.

Portrait of the Archbishop and Writer Giuseppe Capecelatro

• Canvas, oil.
• The State Russian Museum
• Ж-5101

Portrait of Her Highness Princess E.P. Saltykova

• 1833–1835
• Cardboard, watercolours, graphite pencil, ink, nib. 44,4 x 33
• The State Russian Museum
• Р-13100

A typical example of the common in the first half of the 19th century commissioned portrait, executed in the finest watercolour technique, in which Karl Brullov was so brilliant.

Her Highness Princess Elizaveta Pavlovna Saltykova (née countess Stroganova; 1802–1863) — the daughter of the adjutant general P. A. Stroganov (1774–1817) and his wife Sophia Vladimirovna (nee Galitsyna; 1775–1845), elder sister of countess O. P. Fersen. Was married to His Highness Prince I.D. Saltykov (1797–1832).

Self-Portrait

• 1833
• Canvas, oil. 56,5 x 43
• The State Russian Museum
• Ж-5077

Portrait of Countess Olga Pavlovna Fersen on a Donkey

• 1835
• Paper, watercolours, graphite pencil. 52,5 х 40
• The State Russian Museum
• Р-13102

Spouses Fersen and Brullov were tied by quite a close friendship. The collection of P. K. Fersen included many of his works. In March 1835 O. P. Fersen, having learned about the artist's intention to set off to travel to the East, wrote to him from Naples: "We hope and surely not in vain, that you will come to us to say goodbye, having the intention to undertake such a long journey. Your arrival would prove to me that my requests are all-powerful over you, which is something you assured me of so pleasantly... We are waiting for you with impatience and hope that you will agree to spend three or four days with your old friends".

Along with this work Brullov also created a portrait of O.P. Fersen and a watercolour portrait of the count P. K. Fersen (1800–1884).

Olga Pavlovna Fersen (née Stroganova, 1808–1837) — a daughter of the adjutant general P. A. Stroganov (1774–1817) and his wife Sophia Vladimirovna (née Golitsyna; 1775–1845), the younger sister of Her Highness Princess E. P. Saltykova.

Портрет В. А. Корнилова на борту брига «Фемистокл»

• Paper, watercolours, graphite pencil.
• The State Russian Museum
• Р-42271

Портрет автора и баронессы Екатерины Николаевны Меллер-Закомельской с девочкой в лодке

• 1830s
• Canvas, oil. 151,5 х 190,3
• The State Russian Museum
• Ж-5086

Alexei Perovsky, Pseudonym Anthony Pogorelsky

• 1836
• Canvas, oil. 136 x 104
• The State Russian Museum
• Ж-5088

Portrait of Count Alexei Tolstoy in his Youth

• 1836
• Canvas, oil. 134 x 104
• The State Russian Museum
• Ж-5089

Portrait of Count Alexei Tolstoy in his Youth was painted at Count Alexei Perovsky’s house in Moscow. Count Alexei Konstantinovich Tolstoy (1817–1875): Master of the hunt, poet and playwright. Son of Count Konstantin Tolstoy (1779–1870) and Anna Tolstaya (died 1857). Raised by his uncle, Count Alexei Perovsky. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 136.

Portrait of Empress Alexandra Fyodorovna and her Daughter, Grand Duchess Maria Nikolaevna, Horse Riding in the Peterhof Park

• Modello for an unpainted portrait
• 1837
• Canvas, oil. 89 x 70,5
• The State Russian Museum
• Ж-3375

Portrait of Empress Alexandra Fyodorovna, Wife of Nicholas I

• Modello for an unpainted group portrait of the family of Nicholas I
• 1837
• Canvas, oil.
• The State Russian Museum
• Ж-5409

Portrait of Grand Duchess Maria Nikolaevna, Eldest Daughter of Nicholas I and Later Wife of Duke Maximilian Josephe Eugene of Leuchtenberg and Count Grigory Stroganov

• Modello for an unpainted group portrait of the family of Nicholas I; study version (Tret. Gal.)
• 1837
• Canvas, oil.
• The State Russian Museum
• Ж-3342

Portrait of the Shishmareva Sisters

• 1839
• Canvas, oil. 281 x 213
• The State Russian Museum
• Ж-5091

The Shishmareva sisters were the granddaughters of Savva Yakovlev, one of the wealthiest merchants in St Petersburg. This is one of Karl Brullov’s finest works of official portraiture. The painting demonstrates the artist’s talent for masterly compositions and his rich and refined palette.

Alexandra Afanasievna Shishmareva (?–1893, first married name Chernysheva, second married name Durasova) and Olga Afanasievna Shishmareva (dates of birth and death unknown, married name Olsufieva): Daughters of Afanasy Shishmarev. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 136.

Portrait of Ulyana Smirnova, née Spiridonova

• 1837–1844
• Canvas, oil. 90 x 71,5
• The State Russian Museum
• Ж-5100

Portrait of the Most Serene Princess Elizaveta Saltykova

• 1841
• Canvas, oil. 200 х 142
• The State Russian Museum
• Ж-5090

Karl Brullov painted a watercolour portrait of Princess Elizaveta Saltykova in Italy in 1833. Their friendship continued in St Petersburg.

Most Serene Princess Elizaveta Pavlovna Saltykova (1802–1863): Born Countess Elizaveta Stroganova. Daughter of adjutant-general Pavel Stroganov (1774–1817) and his wife Sofia Golitsyna (1775–1845). Married the Most Serene Prince Ivan Saltykov (1797–1832). Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 135.

The Last Day of Pompeii

• 1833
• Canvas, oil. 456,5 x 651
• The State Russian Museum
• Ж-5084

The subject of the canvas is the destruction of the ancient Roman town of Pompeii during an eruption of the volcano Vesuvius in the year 79 AD. Brullov’s historical sources were the letters written by the ancient Roman historian Pliny the Younger, a witness of the catastrophe, to Tacitus, and a study of the ruins of Pompeii, where archaeological excavations had begun in the middle of the eighteenth century. The scene of the action is the Strada dei Sepolcri (Road of Tombs), the Pompeii necropolis and a kilometre perspective from the Gates of Hercules to the Villa Diomedes in the direction of the Villa of Mysteries. The Last Day of Pompeii was exhibited at the Pinacoteca di Brera in Milan in 1833. It was then sent to the annual Paris Salon, which had opened in the Louvre in March 1834, winning Brullov a first gold medal. The painting was shown at the Imperial Hermitage in St Petersburg in 1834 and at a special exhibition organized by the Imperial Academy of Arts in 1835. Among the characters in the painting, Brullov depicts himself (the artist on the steps of the temple) and Countess Yulia Samoilova (the mother embracing her daughter). Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 136.

Portrait of Countess Yulia Samoilova Retiring from a Ball with her Foster Daughter Amazilia Pacini. Unfinished

• Before 1843
• Canvas, oil. 249 x 176
• The State Russian Museum
• Ж-5093

Karl Brullov appears to have painted this portrait in St Petersburg in 1839–40, when Countess Yulia Samoilova came to Russia for family reasons.

Countess Yulia Pavlovna Samoilova (1803–1875): Last of the Skawronski family. Daughter of cavalry general Count von Palen (1775–1834) and Countess M. P. Skawronska (eldest daughter of Countess E. V. Skawronska and niece of Prince Grigory Potemkin). Married the aide-de-camp Count Nikolai Samoilov (1825), the Italian singer Peri and then the French diplomat Count de Morné. After divorcing the latter, she returned to the surname of her first husband.

Karl Brullov made the acquaintance of Countess Yulia Samoilova in Italy in the 1820s. They became very close friends and at one point even talked of marrying. Countess Samoilova did not have any children of her own. She raised two Italian girls, Amazilia and Giovanina Pacini, daughters of the composer Giovanni Pacini. Russian Museum: From Icons to the Modern Times. Palace Editions, St Petersburg, 2015. P. 135.

Пожар Москвы. Наполеон покидает Кремль

• 1850–1852
• Paper, graphite pencil. 10,7 х 16,4
• The State Russian Museum
• Р-127

Пожар Москвы. Наполеон покидает Кремль. Наполеон у окна

• 1850–1852
• Paper, graphite pencil. 25,5 х 33
• The State Russian Museum
• Р-28931

A Girl Picking Grapes in the Environs of Naples

• 1827
• Canvas, oil. 62 x 52,5
• The State Russian Museum
• Ж-5078

Abraham’s Vision of God in the Form of Three Angels at the Oaks of Mamre

• 1821
• Canvas, oil. 113 х 144
• The State Russian Museum
• Ж-5075

Bathsheba

• Version of Bathsheba (1832, Tret. Gal.)
• 1830s (?)
• Canvas, oil. 87,5 х 61,5
• The State Russian Museum
• Ж-5083

According to the Bible, Bathsheba was the wife of King David. Bathsheba is generally depicted in art next to a spring, attended by a maid and a negro boy. This was a subject highly popular in European painting as a specific hymn of praise to female beauty and this is how it was painted by Brullov. The artist, however, also interprets the biblical scene in the spirit of the "Italian genre", which was popular in Russian art in the 1840s. The canvas appears to have been painted in the early 1830s in Italy. A large unfinished picture by Brullov on the same subject hangs in the State Tretyakov Gallery in Moscow.

The Crucifixion

• Altarpiece of the Lutheran Church of St Peter and St Paul in St Petersburg
• 1838
• Canvas, oil.
• The State Russian Museum
• Ж-5646

Бичевание Спасителя

• 1843–1848
• Cardboard, italian pencil. 382 х 280
• The State Russian Museum
• Р-39891

Воскресение Христово

• Canvas, oil. 102 х 68,5
• The State Russian Museum
• Ж-3369

Христос воскресший

• Canvas, oil.
• The State Russian Museum
• Ж-3370

Несение креста

• 1848 - 1850
• Cardboard, italian pencil. 353 x 265
• The State Russian Museum
• Р-39893

Perseus and Andromeda

• Study (?)
• 1810s
• Canvas, oil. 43,7 х 28,6
• The State Russian Museum
• Ж-3361

Narcissus, Looking into the Water

• 1918
• Canvas, oil. 162 x 209,5
• The State Russian Museum
• Ж-5074

The subject is taken from the third book of Ovid's “Metamorphoses”. Narcissus, a handsome young man from Festia or Lacedaemon, was the son of the nymph Liriope and Cephissus. It was predicted to his mother that he would live to a great age, if he did not see his own face. As a boy Narcissus often hunted in the woods. On one hot afternoon, weary from the heat, Narcissus bent over the source to quench his thirst and saw his face. According to Ovid: “While he is drinking he beholds himself reflected in the mirrored pool — and loves...” Having forgotten about sleep and food, Narcissus, who had never loved anyone, spent days and nights on the shore, admiring his reflection, and died of sorrow. The gods turned him into a flower, which became known as a Narcissus.

This painting is recognized as one of the best K.P. Brullov’s works of the period of his studies at the Academy of Arts. In 1819, in the class of Andrey Ivanov a male figure was "presented" as a task for painters – a figure of a reclining young man, leaning over the water. According to the memoirs of contemporaries, the artist painted the landscape background in the Park of the Stroganovs’ dacha on the Chernaya river. In 1819 for this painting Brullov received a gold medal of the second rank.

"Metamorphoses" (Lat.) – a poem by the Roman poet Ovid consisting of fifteen books, which focuses on various transformations that have occurred since the creation of the world, according to Greek and Roman mythologies. The poem was written by Ovid in Rome between 2 and 8 years A.D.

Бичевание Спасителя

• 1843–1848
• Cardboard, italian pencil. 382 х 280
• The State Russian Museum
• Р-39891

Несение креста

• 1848 - 1850
• Cardboard, italian pencil. 353 x 265
• The State Russian Museum
• Р-39893