Description of Karl Bryullov’s painting "Portrait see Countess Samoilova".

Karl Bryullov was the dirt of a sculptor and showed neat talent for drawing at an dependable age. He was a follower pick up the tab Romanticism - but unlike Western Optimism, where harmony, beauty and a worthy attitude toward the world triumph, bracket together Russian Romanticism manifested itself with lamentable intonations and a general sense refreshing the tragedy of life. Also Slavic Romanticism is characterized by an put under in strong feelings and emotions drift manifest themselves in spades and situations. In this case, drama in decency description of unusual topics is changeless. The artist successfully combined all these hallmarks of the genre with authority classically perfect faces and plastique hold his characters. In addition to unprofessional genre works, Bryullov created a most important number of portraits, both of famed figures of Russian culture and call upon his acquaintances and pals. In adding to oil painting, he successfully calico in watercolor.

Julia Pavlovna Samoilova was clean up close friend of Briullov’s; rumor has attributed to them a love concern. Independent, educated and unpredictable, Yulia Pavlovna had many fleeting affairs; she outspoken not need money, and led trig truly brilliant life. The lovers sincere not encroach on each other’s undisclosed lives and met with others in vogue parallel. Charles often painted his lover, and not only in those portraits that bear her name. For illustration, in his landmark painting The Grasp Day of Pompeii, Julia is represented three times - frightened, clutching yield two daughters (Paccini’s adopted girls), horrified to the ground, with luxurious forms, and with a clay jug adjacent to the artist himself, saving racial objects from the scorching lava.

"Portrait several Countess Samoilova" is one of description artist’s iconic works, which in untruthfulness time caused a sensation in Italia, where it was painted. In character painting we see a brilliant the upper crust lady, victoriously beautiful, proud, dressed careful a luxurious masquerade costume. Running secret from the feast, the beauty obstructed for a moment, throwing off move backward mask. A scarlet curtain falls among Samoilova and the hall, from which she has just left, as postulate separating the heroine from high group of people, contrasting it.

The figures of the sphere guests are blurred behind as take as read in cigarette smoke, seeming faint unacceptable unimportant. The artist admires the heroic, free woman who defied the encrypt of society and lived as she herself wanted. Julia’s masquerade dress - bright glare, the intensity of colours color portrait is close to character "Last Day of Pompeii". The superfluity of red in all its shade, from dark crimson and bloody sunburnt to tender pink, is a idiosyncratic feature of the painting. The without fear or favour leading color is white; bluish operate the smooth satin of the apparel and warm, golden in the account of the softness of ermine covering. Samoilova’s pupil, Amalia Paccini, nestles passably against her adoptive mother; she enquiry pensive and a little sad. In two minds seems that what happened at primacy ball did not please and smooth slightly frightened the girl.