Russian Neoclassical/Romantic Painter, 1799-1852,was an internationally renowned Russian painter. He is regarded as a key figure in transition from the Russian neoclassicism to romanticism. Born of French parents in Saint Petersburg, Carlo Brulleau (as his name was spelled until 1822) felt drawn to Italy from his early years. Despite his education at the Imperial Academy of Arts (1809?C1821), Briullov never fully embraced the classical style taught by his mentors and promoted by his brother, Alexander Briullov. 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?C1833), 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 Briullov 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.   Related Paintings of Karl Briullov :. | Portrait of count matvei vielgorsky | Portrait of Yekaterina Semionova | Portrait of Count Alexei Perovsky | Portrait of Yelen thon | Portrait of The Shishmariov sisters,Olga and Alexandra |
Related Artists:
Oscar Pereira da Silva
(1867-1939 ) - Painter
Jean Baptiste Camille Corot
1796-1875 Corot Locations French painter, draughtsman and printmaker. After a classical education at the College de Rouen, where he did not distinguish himself, and an unsuccessful apprenticeship with two drapers, Corot was allowed to devote himself to painting at the age of 26. He was given some money that had been intended for his sister, who had died in 1821, and this, together with what we must assume was his family continued generosity, freed him from financial worries and from having to sell his paintings to earn a living. Corot chose to follow a modified academic course of training. He did not enrol in the Ecole des Beaux-Arts but studied instead with Achille Etna Michallon and, after Michallon death in 1822, with Jean-Victor Bertin. Both had been pupils of Pierre-Henri Valenciennes, and, although in later years Corot denied that he had learnt anything of value from his teachers, his career as a whole shows his attachment to the principles of historic landscape painting which they professed.
Juan van der Hamen y Leon
Spanish Baroque Era Painter, 1596-1631, was a Spanish painter, a master of the still life paintings, also called bodegones. During his lifetime, he was prolific and versatile, painting allegories, landscapes, and large-scale works for churches and convents. However, today he is remembered mostly for his still lifes. In the 1620s, He popularized still life painting in Madrid.Juan van der Hamen y (Gemez de) Leen was born in Madrid in 1596 but he was baptized late on April 8, 1596 in Madrid, therefore, he must had been born there just days before that date. He was the son of Jehan van der Hamen, a Flemish courtier, who had moved to Madrid from Brussels before 1586, and Dorotea Whitman Gemez de Leen, a half-Flemish mother of noble Toledan ancestry [1]. Van der Hamen and his two brothers Pedro and Lorenzo (both of whom were writers) emphasized their Spanish roots by using all or part of their maternal grandmother's family name, Gemez de Leen.. The painter's father, Jan van der Hamen, had come to Spain, as an archer, to the court of Philip II were he settled, married, and his children were born. According to 18th-century sources, the artist's father had also been a painter, but there is no evidence for this. Juan van der Hamen inherited his father's honorary positions at court and also served as unsalaried painter of the king. Van der Hamen's artistic activity in the service of the crown is first recorded on 10 September 1619, when he was paid for painting a still-life for the country palace of El Pardo, to the north of Madrid.