In 1893, Bryullov’s painting “The Horsewoman” ended up in the Tretyakov Gallery.

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.

In 1896, "Horsewoman" was purchased for 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

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.

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

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 speed of the ride or is too confident to pull on the reins and duck like a skilled rider would."

But, despite the criticism, the majority of the public received the picture positively, calling it a masterpiece. After the painting “The 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 count's family went bankrupt, the painting changed hands. In 1896 it was bought for the Tretyakov Gallery.

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: she doesn’t seem to care at all the world around us, in my thoughts she is somewhere far away...

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.

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.

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If only to see with your own eyes the paintings “Girl with Peaches”, “The Rooks Have Arrived”, “The Appearance of Christ to the People”, “Morning in pine forest"and many other works of Russian fine arts, familiar even to all people far from painting from candy wrappers and Internet memes.

website rummaged through the collection of an art museum and chose 10 paintings from interesting story. We hope they will inspire you to visit the Tretyakov Gallery.

“The Apotheosis of War” Vasily Vereshchagin

The painting was painted in 1871 under the impression of military operations in Turkestan, which amazed eyewitnesses with their cruelty. Initially, the canvas was called “The Triumph of Tamerlane,” whose troops left behind such pyramids of skulls. According to history, one day the women of Baghdad and Damascus turned to Tamerlane, complaining about their husbands, mired in sins and debauchery. Then the cruel commander ordered each soldier from his 200,000-strong army to bring the severed head of their depraved husbands. After the order was carried out, 7 pyramids of heads were laid out.

“Unequal marriage” Vasily Pukirev

The painting depicts the wedding process in Orthodox Church. A young bride without a dowry marries an old official against her will. According to one version, in the picture - love drama the artist himself. The prototype in the image of the bride is the failed bride of Vasily Pukirev. And in the image of the best man, depicted at the edge of the picture behind the bride, with his hands folded on his chest, is the artist himself.

“Boyaryna Morozova” Vasily Surikov

Giant in size (304 by 586 cm) painting by Vasily Surikov depicts a scene from the history of the church schism in the 17th century. The painting is dedicated to Feodosia Prokopievna Morozova, an associate of the spiritual leader of the supporters of the old faith, Archpriest Avvakum. Around 1670 she secretly became a nun, in 1671 she was arrested and in 1673 she was sent to the Pafnutiev-Borovsky Monastery, where she was starved to death in an earthen prison.

The painting depicts an episode when noblewoman Morozova is transported around Moscow to the place of imprisonment. Next to Morozova is her sister Evdokia Urusova, who shared the fate of the schismatic; in the depths is a wanderer, in whose face one can read the features of an artist.

“We didn’t expect” Ilya Repin

The second painting, painted between 1884 and 1888, depicts the unexpected return home of a political exile. The boy and the woman at the piano (apparently his wife) are happy, the girl looks wary, the maid looks incredulously, and deep emotional shock is felt in the hunched figure of the mother in the foreground.

Currently, both paintings are part of the Tretyakov Gallery collection.

"Trinity" Andrey Rublev

The Tretyakov Gallery has a rich collection of ancient Russian painting from the 11th to 17th centuries, including works by Dionysius, Simon Ushakov and Andrei Rublev. In room 60 of the gallery hangs one of the most famous and celebrated icons in the world - “The Trinity”, painted by Andrei Rublev in the first quarter of the 15th century. Three angels gathered around the table on which the sacrificial cup stood for a quiet, unhurried conversation.

“The Trinity” is stored in the hall of ancient Russian painting at the Tretyakov Gallery, in a special glass cabinet in which constant humidity and temperature are maintained, and which protects the icon from any external influences.

“Unknown” Ivan Kramskoy

The location of the film is beyond doubt - it is Nevsky Prospekt in St. Petersburg, Anichkov Bridge. But the image of a woman still remains a mystery to the artist. Kramskoy left no mention of an unknown person either in his letters or in his diaries. Critics connected this image with Anna Karenina by Leo Tolstoy, with Nastasya Filippovna by Fyodor Dostoevsky, and the names of famous ladies of the world were named. There is also a version that the painting depicts the artist’s daughter, Sofia Ivanovna Kramskaya.

IN Soviet era Kramskoy’s “Unknown” has become almost Russian Sistine Madonna- ideal unearthly beauty and spirituality. And it hung in every decent Soviet house.

"Bogatyrs" Viktor Vasnetsov

Vasnetsov painted this picture for almost twenty years. On April 23, 1898, it was completed and was soon purchased by P. M. Tretyakov for his gallery.

In the epics, Dobrynya is always young, like Alyosha, but for some reason Vasnetsov portrayed him as a mature man with a luxurious beard. Some researchers believe that Dobrynya’s facial features resemble the artist himself. The prototype for Ilya Muromets was the peasant of the Vladimir province Ivan Petrov, whom Vasnetsov had previously captured in one of the sketches.

By the way, Ilya Muromets is not fairy tale character, but a historical figure. The story of his life and military exploits is real events. Having grown old and having completed his labors to protect his homeland, he became a monk of the Kiev Pechersk Monastery, where he died in 1188.

“Bathing the Red Horse” Kuzma Petrov-Vodkin

The painting “The Bathing of the Red Horse,” which amazed contemporaries with its monumentality and fate, brought the artist Kuzma Petrov-Vodkin world fame. The red horse acts as the Fate of Russia, which the fragile and young rider is unable to hold. According to another version, the Red Horse is Russia itself. In this case, one cannot help but note the prophetic gift of the artist, who symbolically predicted with his painting the “red” fate of Russia in the 20th century.

Petrov-Vodkin based the horse on a real stallion named Boy. To create the image of a teenager sitting on a horse, the artist used the features of his student, artist Sergei Kalmykov: “For the information of future compilers of my monograph. Our dear Kuzma Sergeevich portrayed me on a red horse. ...In the image of a languid youth on this banner I am depicted in person.”

"The Swan Princess" Mikhail Vrubel

The painting was painted in 1900 based on the stage image of the heroine of N. A. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan” based on the plot fairy tale of the same name A. S. Pushkin. Vrubel designed this performance, and the part of the Swan Princess was performed by the artist’s wife Nadezhda Zabela-Vrubel. “All singers sing like birds, but Nadya sings like a person!” - Vrubel spoke about her.

Karl Bryullov is one of the most famous artists XIX century. He has many beautiful portraits to his credit. He knew how to perfectly combine simplicity and excellent brushwork, thus creating masterpieces.

"Horsewoman" is one of famous paintings written in Italy in 1832. Bryullov was able to convey to this portrait all the beauty and power of the youth of Countess Samoilova’s pupil – Giovanni Paccini.

Looking at the picture, the power of the sleek black beautiful horse immediately catches your eye. It is clear that the horse has character and this is what emphasizes the certain innocence of the girl who tamed him. It is clear that the horse has succumbed to her and is holding her in the saddle with strong reliability. The girl deftly copes with his temper and slows him down, preventing him from making a breakthrough, and extinguishes his temperament.

Nearby on the balcony stands a small and very beautiful girl. She has beautiful curls and large, expressive eyes, and is dressed in a delicate dress. She heard the clatter of the horse's hooves and came out to look at him and her sister. On her face one can see the delight of the young and beautiful rider who copes so bravely with the obstinate horse. The rider herself is dressed in a beautiful blue and white dress that suits her so well. It is the image of this girl that softens the whole picture. She doesn't let her be too arrogant.

Looking longer, you can see a large and shaggy dog ​​next to the horse. It is no coincidence that this dog is painted on this canvas. It is he who gives the picture three-dimensional space, and not just a plane. On background you can see a beautiful and rich house, which probably belongs to the girls. This house is decorated with arches and columns. Most likely they belong to a noble family. The artist also clearly conveyed the mood of the weather itself. If you look closely at the depicted trees and sky, you can see the approach of a thunderstorm, and maybe even a storm.

Bryullov uses an unusual combination of colors in this painting. He skillfully combines red shades with brown and almost black with soft blue and white.

The picture conveys one of the most vivid and memorable moments from the life of young beauties. The canvas is full of emotions that are transmitted to the viewer.

Essay description of the painting Bryullov's Horseman

The center of the picture is people and animals. On a beautiful black stallion, an equally beautiful rider sits like a woman. It is clear that she is very good at horse riding techniques. The horse was stopped abruptly by pulling on the reins. Therefore, she reared up, but the rider sits rooted to the spot in the saddle. Despite the fact that the saddle is a woman’s and it is more difficult to maintain balance in it than in a man’s, and even in a chic white silk dress.

The horse has two hooves on the right side, front and back, as if wearing a white sock. It's late evening, so the black horse and white skirt the dresses contrast brightly with each other. The lady is wearing light gloves on her hands. Her fashionable outfit is complemented by a luxurious dark green hat with a veil, which still continues to fly in the wind. Dark brown hair is collected in a fashionable hairstyle in the form of curls. They frame it beautiful face. The lady does not smile, she silently and intently drives up to the porch of the house. She is an example of refined manners and restraint.

Hearing the neighing of a horse, a little black-haired girl runs out of the house, accompanied by a small hunting dog. Judging by the long nose and long legs, this is a greyhound. She wears a brown collar around her neck with a shiny brooch or buckle. The girl is dressed in a light pink dress and frilly pants of the same color. The outfit is complemented by white stockings and green shoes, fastened crosswise on the leg. The girl turns to the rider with a question or exclamation. With her left hand she holds on to the porch railing, and right hand extended in the direction of the rider. The dog turned its head to the girl.

Second dog brown depicted next to a hot horse. Perhaps it's just a mongrel. But judging by the fact that she is wearing a red-brown collar, this is not an ordinary yard dog. Perhaps she accompanied the rider on a walk. Her mouth is open. She's either going to bark or she's breathing heavily.

Perhaps the rider, on the contrary, is going for a walk. She sharply pulled the reins, the horse reared. The dog accompanies them with loud barking. But the rider even reacts to her attack. Education and restraint do not allow bad manners, especially in the presence of a girl.

The action of the picture takes place against the backdrop of the porch of a rich estate. This is evidenced by the massive arch with carved stucco and the garden. In the background you can see the sky in clouds, tilted tree branches. In the arch opening you can see something pink - a curtain or the reflection of fire from a burning fireplace.

Description 3

Bryullov Karl Pavlovich - world famous Russian artist XIX century. Many of his works are truly recognized masterpieces, and one of these is the dynamic “Horsewoman,” which the master wrote in Italy, where he lived for several years.

The main characters of the canvas are two young sisters, students of Countess Yu. Samoilova. The central place is occupied by the beautiful older sister Giovanina Paccini, who is trying with all her might to stop the mighty hot brown horse by pulling on the reins. Her skill as a rider is perfectly observed - Giovanina sits flawlessly in the saddle and from the first seconds it is clear that this is a thing of the past for her, her experience and courage allow her to control a horse, even while wearing a luxurious floor-length dress - a sky-colored Amazon with a lace collar. On curly hair there is a beautiful black hat with a veil that flutters as the horse gallops. Her gaze is absolutely calm, it is clear that she is in excellent control of the situation. Only on the cheeks the author added a slight blush, which emphasizes the timidity of the graceful female sex.

The black horse, hot in its blood, has to obey the order of its rider and stop. At the same time, he shows his true power by rearing, and his nostrils flare from a large flow of air. Near the horse, the author drew a hunting dog, which still can’t catch its breath from a horse ride. Apparently the trot of the horse was so fast that the dog tried with all his might to keep up with his owner and now cannot come to his senses and restore his breathing.

Behind, on the balcony, we see a very young girl - Amatsilia, the sister of the formidable rider. Her young age perfectly accentuates a cute pink dress and children's trousers with lace. The girl's gaze shows admiration for the moment when the brave older sister takes control of the horse and makes it stop on its hind legs. She is proud of her, and the smile on her lips conveys to us all the joy upon her sister’s arrival in home. Thanks to this image, Bryullov wants to convey to us that the youngest loves her sister very much.

A powerful horse, the dynamic movements of the sisters and the wind that shakes the treetops seem to bring the picture to life. The author managed to make this frozen moment truly realistic.

4, 5, 8 grade

Description of the mood of the painting Horsewoman

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Publications in the Traditions section

Russian Amazons

The image of fearless Amazons left a mark on the history of fashion: this is what women's riding costumes were called. The first ensembles appeared in the second half of the 17th century. We remember how Russian ladies began to wear jackets and camisoles, what cut skirts were made for riding, and what little details a rider needed for a perfect look.

Camisole, sertuk and amazon

Georg Christoph Groot. Grand Duchess Ekaterina Alekseevna in a hunting suit. 1740s. Nizhny Novgorod State art museum, Nizhny Novgorod

Karl Bryullov. Empress Alexandra Feodorovna and her daughter Maria Nikolaevna on a walk in Peterhof. 1837. State Russian Museum, St. Petersburg

On the one hand, a riding suit had to be fashionable, on the other hand, it had to be functional and comfortable. Women found a way out: they began to borrow elements of men's costume: caftans, camisoles and cocked hats. Kaftan - knee-length clothing, tightly fitted, with long sleeves and wide cuffs with turn-ups. Camisole - similar cut, but usually sleeveless. True, instead of short men's pants, women wore long fluffy skirts. The collection of the Armory Chamber contains a fancy dress costume of Catherine I from the 1720s. These were often worn on horseback rides. It gives an idea of ​​what a horsewoman might have looked like: a caftan and skirt made of blue velvet, a white silk camisole with colorful embroidery, a hat with ostrich feathers and gloves.

Redingotes came into fashion in the 1780s. In Russia they were called “frock coats” or “sertuks”. The name itself comes from English riding coat- riding suit. Redingotes, similar to dresses or long jackets, were sewn in a strict “masculine” style - with lapels and cuffs, without embroidery or lush trim. As in the rest of Europe, our Redingotes entered into daily life. They were worn not only for horseback riding, but also for walking and visiting. At the Russian court, they even played the role of semi-festive outfits.

Catherine the Great introduced such a form of clothing as a uniform dress. From her reign until 1917, women of the imperial family bore patronage over military units. On regimental holidays, they wore special dresses that resembled military uniform, - in the color of the uniform of the sponsored regiment. These ladies' uniforms were sewn on the principle of riding suits.

At the turn of the 18th–19th centuries women's fashion has changed a lot. Rigid corsets and full skirts temporarily disappeared from wardrobes. High waisted long jacket light dress- such simple and comfortable clothes for horseback riding were at the beginning of the century. However, later the ladies returned to the silhouette " thin waist- full skirt." By the middle of the century, the Amazon costume was formed - a complex ensemble with many details. Its main element was a wide skirt of a special cut.

Speaking of Amazons, one cannot fail to mention the Amazon Company. Prince Potemkin gathered it to solemnly meet Catherine II during her trip to Taurida in the spring of 1787. The detachment consisted of 100 “Amazons” - the wives and daughters of Balaklava Greeks. According to the recollections of their “leader” - Elena Sardanova - the ladies were dressed “in crimson velvet skirts, trimmed with gold braid and gold fringe, green velvet jackets, also trimmed with gold braid; but on their heads are turbans of white mist, embroidered with gold and sequins, with white ostrich feathers.”. Red and green were the colors of the Preobrazhensky Regiment.

What the Amazon looked like depended on fashion trends and the purpose of departure. For walks in nature, simpler suits were worn, for trips to Summer Garden St. Petersburg or in Petrovsky Park in Moscow - elegant outfits; for hunting - a more formal version. Fashionistas gradually abandoned luxurious velvet and silk in favor of more practical and wear-resistant ones - cloth and wool. If in the first half of the century the colors of riding costumes were still bright, then in the second half the color scheme darkened. Ladies preferred black, dark blue, gray, green, brown shades; In summer, light ones were allowed.

Saddle-length jacket and knee-length skirt

Usually the jacket was not made long: up to the skirt or up to the saddle. Longer models were distinguished by a special complex cut, because they had to not wrinkle or wrinkle when driving. At the back, the jacket was connected to the skirt using hooks and loops: this way, while driving, the skirt did not move and the blouse did not get out from under it. The rider had to look perfect! In the cold season, a raincoat or coat in the same style was worn over the jacket.

Skirts were sewn to allow riding sideways, in side saddle, with two bows and a stirrup on the left side. That's why right side the skirt was longer than the left one - it covered the legs and fell even lower. Even in the 1830s, when ladies wore dresses that exposed their ankles, Amazons had to completely hide their legs. Of course, riding in such a long skirt was dangerous. However, often the robes hung down to the ground. Only to himself end of the 19th century centuries, the toes of shoes finally appeared from under them.

Typically, skirts were made from thicker material than jackets. Weighting agents, such as sand or hunting shot, were sewn into the hem, and with inside- special loops into which the rider threaded her legs. This ensured that the skirt would not ride up. The Amazon was often worn while walking. Hold the heavy long skirt the hand was uncomfortable. Therefore, it was picked up higher and secured with buttons, loops and “pages” - special clips that were attached to belts.

Over the years, the cut of skirts has changed. The oldest and simplest is the closed “ordinary” one. It is also the most unsafe due to the large amount of fabric in which one could get entangled when falling or jumping from a horse. In the 1880s, a new variety appeared - the knee-length skirt: this cut made it possible to reduce the amount of fabric and preserve the silhouette. The half-open skirt was sewn with a cutout under the right knee. And the most convenient and at the same time the most daring from the point of view public morality There was an apron skirt that appeared in the last third of the 19th century. Made from one or two pieces of fabric, it looked traditional when the lady was sitting on horseback. However, it was actually an apron that exposed the legs at the back. This robe was worn with an elongated jacket and breeches or pantaloons.

However, trousers were also worn under regular skirts. They were essential when ladies began to abandon petticoats in the 1870s. Longer pantaloons were worn under the Amazon, with straps at the bottom to hold them in place. The tight-fitting breeches went slightly over the knee. Both were usually sewn from the same fabric, or at least the same color, as the Amazon itself.

Accessories for riding suit

Vladimir Gau. Grand Duchess Ekaterina Mikhailovna. 1847. State Tretyakov Gallery, Moscow

Magazine "Fashionable Light". No. 11. 1886

The riding costume was a complex ensemble of many items of clothing and accessories. This was a real rider's outfit - absolutely everything was thought out about the outfit. Suede or leather gloves, an elegant whip with a figured handle, detachable collars and cuffs, handkerchiefs and ties, cufflinks and pocket watches...

Boots were usually worn with the Amazon - high or short. For an informal trip, you could wear high boots with gaiters or leggings. A popular material for shoes was patent leather. Until the 1880s, boots were worn in the same color as the skirt. Both boots and boots were worn exclusively in combination with long trousers. There were also spurs on women's shoes, but the wheels were made smooth so as not to tear the skirt.

Riders wore ordinary underwear under their riding costume: a chemise, a corset, and petticoats. In an era when a thin waist was one of the main details female beauty, for riding, the ladies still tried not to pull themselves too tightly. Towards the end of the century, lightweight sports corsets, lighter and more flexible, came into use. Under the jackets they wore either a blouse or a small chemisette insert - like a shirtfront; the ensemble could also include a vest.

The hair was tied up in a simple, smooth hairstyle to prevent it from becoming disheveled when driving. The choice of headdress depended on fashion and circumstances. It could be a wide-brimmed straw hat or a felt hat. One of the most elegant options was a black silk top hat like a man's. The decoration of straw and felt hats has always been discreet. For example, grosgrain ribbons, feathers or long, waist-length scarves that fluttered spectacularly when driving fast. The headdress was secured - first with braid, and later with an elastic band. This made it possible not to hold it with your hand. And to protect the face from dust and sun, veils were attached to hats.

During his stay in Italy Karl Bryullov painted one of the most mysterious portraits. "Rider" caused a lot of controversy about who the artist actually depicted - his beloved Countess Yu. Samoilova or her pupils Jovanina and Amatsilia.

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