Painting of a horse rider with a dog. Description of the painting K

“Horsewoman” is a painting by Russian artist Karl Bryullov, painted in 1832 at the request of Countess Yulia Samoilova. The artist even depicted the Samoilovs’ surname on the dog’s collar. The painting was first exhibited in 1832 at the Brera Gallery in Milan. Then the painting was kept by the Countess herself until her ruin in 1972, when the painting was sold.

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova

Even before the painting “Horsewoman” was born, Bryullov already had universal recognition. The artist decides to bring the image of the beautiful equestrian to life at the end of his stay in Italy, when Countess Samoilova commissions a portrait of her adopted daughters from him. Without thinking twice, the artist makes a bold decision - to depict the eldest pupil, Jovanina, on horseback, as previously they decided to depict only generals and titled persons. The youngest, Amalicia, stands aside, watching the end of the horse ride.

Karl Bryullov
Rider.
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

In 1896, “The Horsewoman” was acquired for the Tretyakov Gallery. At first it was assumed that the Countess herself was depicted on the canvas, but art historians, having studied Bryullov’s later paintings, were able to prove that this was not the case. The painting depicts Giovanina and Amalizia Pacini, pupils of Countess Yulia Samoilova. The artist called his painting “Giovanin on a Horse.” In Italy there are engravings of this painting, which are considered to be a portrait of the singer Malibran, who is quite famous and is the sister of Pauline Viardot

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

The painting conveys the scene of a walk. The moment of returning home is captured when Jovanin rides up to the porch on a black horse. Bryullov’s composition “Horsewoman” is filled with dynamism - everything in it is in motion, frozen literally for a second so that the artist can capture it. The black horse beats its hoof, hot after a walk, and the dog, with a personalized collar, throws itself under his hooves, joyfully greeting Jovanin.

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

The canvas also depicts Giovanin's little half-sister, Amalicia. She is dressed in a pink dress and green shoes. But what attracts attention most of all is her enthusiastic gaze, the way she looks at her half-sister Jovanin.

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

Danny Wright *Wings Of Hope*

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

The finished work was presented to the public in 1832, and caused a mixed reaction from critics. Many condemned the picture, pointing to the frozen, lifeless face of the horsewoman. Also, some critics pointed out that the rider’s position was too loose, which caused the feeling of speed and dynamics to be lost. One said: "She either doesn't notice the fast pace of the ride or is too confident to pull on the reins and duck like a skilled rider would."

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

But, despite the criticism, the majority of the public received the picture positively, calling it a masterpiece. After the painting “Horsewoman” was presented to the public, Bryullov took a place next to such legends as Rubens and Van Dyck. (well, this is unlikely - my note.) The audience was simply captivated by the scale of the painting and the skill of the artist’s brush. As for the expression on Giovannina’s face, the creator himself explained this by the special task that he set for art at that time. At first, the painting was given to Samoilova’s collection, but when the count’s family went bankrupt, the painting changed owners. In 1896 it was bought for the Tretyakov Gallery.

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

What does the viewer see when looking at the canvas? First of all, it is speed, movement, liveliness, which the artist conveyed in the best possible way. These traits are noticeable in almost all the characters: a lathered horse that clearly doesn’t want to stop, an enthusiastic girl on the balcony, and a shaggy dog ​​barking animatedly at the rider. It seems that even the dog hiding behind the girl will now take off and rush after the horse. Maybe she would have done this if the rider had not stopped the horse. And only the rider herself remains calm: it seems that she does not care at all about the world around her, in her thoughts she is somewhere far away...

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

The most interesting thing that can be seen in the picture is, perhaps, little Amalicia. In every movement, animated face and enthusiastic eyes of the baby, you can read delight mixed with anticipation. The girl is waiting to become as old as her sister, to be able to saddle a black horse and ride it just as majestically in front of her enthusiastic relatives.

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

The picture is full of joy from meeting after a short, but still absence. Watching her takes one’s breath away and the viewer seems to plunge into this joyful atmosphere depicted on the canvas of the Russian artist Karl Bryullov, who was able to so sincerely and honestly convey the atmosphere that reigned at that time in the countess’s estate.

Karl Bryullov
Rider.
Portrait of Giovanina and Amazilia Pacini, pupils of Countess Yu.P. Samoilova, (fragment)
1832. Oil on canvas. 291.5 x 206 cm.
State Tretyakov Gallery, Moscow, Russia

Rider

When you look at the canvas of the great painter Bryulov, your gaze immediately stops at the figure of a beautiful horsewoman who stops her horse. And then you just notice a girl who is standing on the balcony and does not hide her admiration for the horsewoman. The dogs that have turned their attention to the horse and bark at it also experience great interest; one gets the feeling that all of nature has paid attention to this brave girl. Large clouds are moving across the sky, and the trees seem to be bending over to get a better look at the rider. Even the rays of the almighty sun descended to earth to see the beauty and audacity of the girl.

The peculiarity of this painting lies mainly in the fact that the painter painted a portrait of an ordinary girl in the style of portraits of great commanders. If you pay attention to the silhouette of a girl and a horse, you can easily notice a triangle. Previously, Titian, Rubens and other great artists resorted to this technique. But so that the image of the girl does not seem warlike, Bryulov adds a child to the canvas. The little girl heard the clatter of the horse's hooves and went out onto the balcony to look at him. Her face expresses delight at the beautiful horsewoman. But you can also see the emotion on the young face; the girl is surprised that the rider looks so arrogant when she rides a horse. A small child gives this picture life and realism; the canvas ceases to be majestic.

You should also pay attention to the large shaggy dog, which is located closer to the horse. This dog also plays a special role on the canvas. When you look at it, you get the impression that the picture was painted not on a plane, but in three-dimensional space.

Anyone who has ever seen this painting in the Tretyakov Gallery at least once in their life immediately gets the impression that this is not a painting at all, but a window into life.

Essay description of the painting Bryullov's Horseman

Bryulov Karl Pavlovich is one of the most famous artists of the 19th century, the author of many beautiful portraits. The main directions of his grandiose development were panoramic canvases on the theme of historical events, and he also had a great interest in small works that masterfully combined effortless simplicity and skillful use of the brush. However, Bryulov revealed himself most in painting portraits, mainly with portraits of luxurious beauties of his century.

One of the most famous portraits painted by the painter is the painting “Horsewoman”. It was created in 1832 in Italy. In the portrait, the author perfectly conveyed all the beauty of the youth and grace of the young pupil of Countess Samoilova - Giovanni Paccini.

Contrast reigns in the whole picture - and only just a quick glance at it, and after some time, looking at all the little things depicted by a truly master of his craft.

At the first glance at the picture, one is struck by the strength and power of the beautiful black horse - a handsome man. Against the background of his temperament, the innocence of the girl, whom he holds firmly and securely in his saddle, seems even more vulnerable. The girl gracefully stops the horse's impulse to charge, slows down the fire and the pressure of his temperament.

She is met by a little girl on the balcony, just as cute, with curls on her head and in a smart light dress. Her skill in controlling a capricious animal surprises the little girl and instills in her a sense of respect for her older friend.
A small dog at the stallion’s feet barks fiercely at him. The strength and pressure of the picture is also given by the state of the weather - you can feel the approach of a thunderstorm, and even a storm.

The unusual combination of colors in the portrait created by Bryulov is striking. The author combines red shades with brown, almost black colors with soft blue and almost white. Such combinations influenced my perception of this picture – its strength and tenderness.

8th grade. 4th grade, 5th grade.

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Great masterpieces of art always conceal great mysteries. Even a seemingly ordinary portrait of a famous person contains so many secrets and mysteries that it gives food for thought to more than one generation of art critics. Among these paintings is the painting “Horsewoman” by the famous Russian artist Karl Bryullov.

At first glance, the picture does not represent anything special. The genre is a portrait of a young girl riding a horse returning from a walk, and a little girl enthusiastically greeting her older sister. The scene takes place on the Countess's estate in the outskirts of Milan. The canvas is full of life and joy. The dynamics are created by the horse, which is barely restrained by the reins of a young girl. Her cheeks are flushed and give life to her figure. The little girl looks at her with genuine interest. A shaggy dog ​​is jumping for joy nearby. On his collar you can see the inscription “Samoilova”, which at one time misled art lovers who believed that the portrait of the horsewoman was painted by the countess herself.

However, researchers, having compared the ceremonial portraits of the countess and the facial features of the girl in the portrait, came to the conclusion that this was still a portrait of the senior pupil, Giovanni Paccini. This fact is also supported by the fact that in his notes Bryullov calls this portrait “Zhovanin on a horse.” This canvas was painted by the artist on behalf of his friend and favorite muse, Countess Yulia Samoilova, for her gallery. It is believed that these are portraits of Samoilova’s young pupils Giovanni and Amazilia Paccini. However, meticulous art lovers, having compared the facial features of the girls in this portrait and others where they are depicted with their adoptive mother, came to the conclusion that they are different.

This may seem incredible, but there is reason for such an assumption. Around the same time, engravings of this painting appeared in Italy and were considered a portrait of one of the most famous and beloved singers of that time, Maria Malibran, who was the sister of Pauline Viardot.

So, who is this mysterious figure, Maria Malibran?

The girl was born into a musical family, which determined her future fate. Her father was a famous Spanish composer, singer and teacher; mother, sister and brother sang leading roles on the main opera stages of Europe. From the age of six, Maria studied music and singing; her career as an opera singer became her whole life. Beautiful, fragile, gentle, with a magical strong voice, she was a favorite of the public. While performing on stage, she devoted herself entirely to art, not sparing her own life. She sang as she lived. This later became the cause of her tragic death. Maria Malibran died at the age of 28 almost on stage.

Shortly before the tragedy, Maria received serious injuries after falling in a horse: the young woman loved horse riding and various dangerous tricks. Just a few days after the fall, she stood on stage, barely able to stand on her feet from unbearable pain, and sang so desperately and soulfully that the audience gave a standing ovation and called their favorite for an encore many more times. After the performance. barely reaching the dressing room, Malibran practically fell unconscious and died. This story gave rise to many romantic ballads about the singer who lived by her art and died at the very peak of her fame to the applause of the public.

So, if there are so many coincidences in life, maybe Bryullov’s heroine really was an exalted Spanish prima, a favorite of the public, and the great artist preserved her image for us.

The history of the creation of the painting "Horsewoman" by Karl Bryullov

K. Bryullov. "Rider". Oil. 1832.

“The Russian painter Karl Bryullov painted a real-size portrait depicting a girl on a horse and a girl looking at her. As far as we can remember, we have not yet seen an equestrian portrait conceived and executed with such skill... This portrait shows us a painter who speaks out at once, and, more importantly, a brilliant painter.”
This and other, no less flattering, reviews appeared in Italian newspapers in 1832. The painting “Horsewoman” aroused the interest and admiration of art lovers. Portrait of Amatsilia and Giovanni Pacini, pupils of Countess Yu. P. Samoilova.”

Now the canvas is kept in the State Tretyakov Gallery and continues to attract spectators. The artist’s plan happily combined the majesty of the ceremonial portrait and the simplicity, poetic spirituality of the living, spontaneous characters of the two heroines.

Few know the history of creation and fate of the work. “The Horsewoman” was written in 1832, when Karl Pavlovich Bryullov lived in Milan, in northern Italy. The artist’s close friend, wealthy aristocrat Yulia Samoilova, commissioned the young master to paint a portrait of her students. These were the daughter and young relative of the deceased composer Giuseppe Pacini. The same Pacini, whose opera “The Last Day of Pompeii” prompted Bryullov to the theme of the future famous painting. The painter painted two sisters in a villa near Milan.

In the center of the picture, Giovanni Pacini is depicted on a hot horse. The horse gets excited, but the rider sits straight and proud, confident in herself. To the left of the young Amazon is a balcony onto which her younger sister ran out, and in the depths is a shady park.

The overall silhouette of the rider and horse forms the semblance of a triangle - a stable, long-favored form of constructing a ceremonial portrait. This is how many compositions were solved by Titian, Velazquez, Rubens, and Van Dyck. Under Bryullov’s brush, the old compositional scheme is interpreted in a new way. The artist introduces the figure of a child into the picture. The little girl, hearing the horse's tramp, quickly ran out onto the balcony and stretched out her hand through the bars. Both delight and fear for the rider are expressed on her face. A note of living, direct feeling tempers the cold majesty of the portrait, giving it spontaneity and humanity.

The shaggy dog ​​depicted on the canvas helps to create the impression that in the painting the space unfolds not only in depth, but also exists in front of the characters.

The painting was exhibited in Milan, and then Yu. P. Samoilova’s guests could see it among other works of art. In 1838, the famous Russian poet and translator V. A. Zhukovsky admired the portrait.

Subsequently, traces of the canvas are lost for a long time. Yu. P. Samoilova became poor, moved from Italy to Paris and took with her a portrait of her pupils. She broke up with him at the very end of her life, in 1875. Repin, while in Paris in the summer of 1874, wrote to P. M. Tretyakov that “some Countess Samoilova here sells several things by K. P. Bryullov...”. But he did not have time to buy the painting.

The work came to the attention of Russian art collectors for the second time at the end of the 19th century. A French art dealer exhibited “The Horsewoman,” or “Amazon,” as it was also called, at the Academy of Arts in St. Petersburg. In 1893, P. M. Tretyakov acquired it for his famous collection of Russian paintings. Since then, “The Horsewoman” has been decorating the gallery’s halls.

Today, looking at this work, you understand how right the Italian art connoisseur was when he called young Karl Bryullov a brilliant artist just for this portrait alone. The master boldly combines the girl’s pink dress, the velvety black color of the horse’s fur and the white robe of the rider. Bryullov gives a complex harmony of pink-red, bluish-black and white shades. The painter, as it were, deliberately chooses not close, but contrasting, especially complex in painting, combinations. But each tone was developed masterfully by the master, in many subtle gradations. The pictorial layer is not overloaded anywhere, and this enhances the sound of the paint on the light ground. Bryullov achieved a special tonal harmony here. There are no careless, sluggishly painted places in the portrait.

Monumentalists, watercolorists, draftsmen and representatives of academicism of the 19th century. In 1822, he was sent to Italy to raise funds for the Society for the Encouragement of Artists.

Karl Bryullov painted the painting “Horsewoman. Portrait of Amalicia Pacini and Giovanni, pupils of Countess Yu. P. Samoilova” (often called “Amazon”) in 1832. Countess Yulia Pavlovna Samoilova asked him to create this picture. Her name is in the picture: on the dog's collar. In the same year, the painting was exhibited in Milan at the Brera Gallery. The picture immediately received many responses. Italian newspapers called Bryullov a brilliant artist. He was compared to Rubens and Van Dyck.

For 40 years the painting was in Samoilova’s collection. Shortly before her death, in 1872, Yu. P. Samoilova, ruined, sold it in Paris.

Fate brought the "Horsewoman" to St. Petersburg

In 1874, Repin wrote to Tretyakov about what was for sale. But P. M. Tretyakov did not have time to purchase it then. But in 1893 the painting ended up in his collection. Many assumed that the painting depicts Countess Samoilova herself.

But art historians were able to prove that the picture shows a completely different woman. Today the painting is presented at the State Russian Museum in St. Petersburg and continues to receive many responses. One of the paintings in which Bryullov is immortalized is “Horsewoman”. always joyful and dynamic.

History of creation

Karl Bryullov was a close friend of Countess Samoilova. Most likely, they met in Italy. The Countess, without hesitation, commissioned him to paint a portrait of her two pupils. Amalicia was the daughter of composer Giuseppe Pacini. It is worth noting that at one time the opera of this composer inspired K. Bryullov to create a painting of the same name.

The painting was painted in a villa near Milan. When it was released, it attracted both positive and negative reviews. Many critics pointed out the lifeless, frozen face of the rider. Their description of the painting “Horsewoman” by Bryullov boiled down to the fact that the girl sits too loosely on a horse. Because of this, the feeling of speed and dynamics disappears.

description of the picture

The central figure of the canvas is Giovanina Pacini. She sits on a hot horse. It is clear that the girl is absolutely confident in herself. She sits straight and proud, even though the horse is getting excited. Giovannina has just returned from a walk - this can be seen from the light blush on her cheeks. But there is a certain angelic detachment on her face. The girl is dressed in the latest fashion: a light blue riding habit, a hat with a dark green veil fluttering in the wind.

The whole picture is permeated with movement: the horse rears up, the dog rushes towards.

A little girl, Amalicia, ran out onto the balcony. She heard the tramp of a horse. Both delight and fear are visible on her face. This girl admires the rider with delight. Her face reflects the feelings she feels for her sister - adoration. The girl is dressed simply: lace pantaloons and a homemade pink dress. Real, immediate feeling gives softness to the arrogant, stately portrait.

The background of the picture is a shady park. The trees are swaying by a strong wind. And storm clouds are gathering in the sky.

Bryullov, like many artists, used the classic form of constructing a ceremonial portrait - a triangle. This composition is found in Titian, Velazquez, Rubens, Van Dyck. The silhouette of a girl and a horse forms this figure. However, the artist decides to break away from tradition, introducing a new figure into the composition.

The second original find is a shaggy dog. His presence creates the impression that there is also space in front of the characters.

An equestrian portrait in those days meant a rider who was a crowned person. Bryullov decided to violate this official canon. And the young pupil is already sitting in a regal pose on a black horse.

A color scheme

Working on the topic “Karl Bryullov’s “Horsewoman”: description of the painting,” all art critics pay attention to the seemingly completely inharmonious colors.

The rider is in white, the girl is in pink, and the velvety black fur of the horse. It seems that Bryullov specifically used these colors. After all, they are difficult to combine in painting. But the artist carefully worked out everything and brought each shade to color harmony.

The whole canvas breathes delight. It is airy and light. It feels like we
We stand there in the yard and meet a beautiful girl from a walk.

Description of the painting "Horsewoman" by Bryullov - teach children

Today in schools, trying to instill a love of art and teach them to see beauty, children should be given the opportunity to reflect on a picture more often. For example, the essay “Description of Bryullov’s painting “Horsewoman”” is perfect for this.

Most visitors to the Tretyakov Gallery cannot resist the charm of this painting (Bryullov, “Horsewoman”). A description of the painting can be found in poems by A. Karp.