Flying Angel, mourning the victims of the Inquisition. 1849-1850 Karl Pavlovich Bryullov (1799-1852)

The drawing presents a figure suspended in mid-air, seemingly descending or floating downwards. The central element is undoubtedly a winged being, rendered with considerable expressiveness and a palpable sense of sorrow. Here we see the figure draped in flowing robes that billow around it, contributing to an impression of movement and etherealness. The wings are sketched with loose lines, suggesting both power and vulnerability.
The face of the figure dominates the composition. It is tilted downwards, the hand raised to rest against the cheek in a gesture of profound grief or contemplation. The eyes appear closed, conveying a sense of inward suffering rather than outward action. The hair is depicted as wild and untamed, further emphasizing the emotional turmoil conveyed by the pose.
Below the winged figure, a cluster of smaller figures are arranged on the ground. These individuals are sketched with less detail, appearing almost like shadows or specters. Their postures suggest distress and helplessness, implying they are victims of some unseen tragedy. The lack of clarity in their depiction serves to universalize their suffering; they represent a collective rather than individual identities.
The drawing’s monochromatic palette contributes significantly to its somber mood. The absence of color focuses attention on the interplay of light and shadow, enhancing the dramatic effect of the scene. The sketchy quality of the lines lends an immediacy and intimacy to the work, as if capturing a fleeting moment of profound emotion.
Subtly, the composition suggests themes of loss, mourning, and perhaps even injustice. The winged figure’s descent could symbolize a fall from grace or a lament for those who have suffered. The smaller figures below represent the victims, their vulnerability highlighted by their diminutive size and indistinct features. The overall effect is one of poignant sadness and quiet protest against suffering.