Karl Pavlovich Bryullov – Last Days of Pompeii 1. 1827-1830
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ESOTERIC POEM
Vineyards of worlds above us,
Their shadow – the familiar, visible world.
What is success when the soul feels like
In invisible but terrible holes?
Life is a system. And its causes
Are beyond it, great.
Pictures of golden staircases,
Their quite airy brushstrokes.
The far-reaching word – we dont know the
Secret power when speaking,
And with empty words we squander
Against the greatness of the Universe.
Calendar pages frighten me -
Life cuts them off like autumn.
Who asks for this, tell me?
Turning to yourself,
You turn to someone.
Turned the computer on and off again –
Virtual reality is revealed to fate.
So from the threshold – Hello, I am fate –
She has never spoken.
I would look and exclaim – Wow!
And a handshake would lift my spirits.
And dreams are terrible – as if
A greyhound is driven into a crack.
On a starry night, golden millet
Who pecks, hiding their goal?
There is the core of a phenomenon and its flesh
Of it – although perhaps not dense.
There is a river, but you cannot build a raft -
Swam across the river, carefree.
I wont call life a river -
I dont want to pay the tax of banality.
I will approach a provincial pier
And feel sadness.
The water smells wonderful,
Waves with a light chime seduce.
Curled flocks of clouds
Float above the avalanche of life.
The course of thought is essentially the course of life.
True life is like a sphere of spirit.
If the soul has ripened, like a fruit,
Then thoughts about the light of death will arise.
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Here we see a multitude of figures caught within this disaster. They are arranged in a dense, overlapping manner, creating a feeling of claustrophobia and panic. Some individuals prostrate themselves, seemingly resigned to their fate, while others reach upwards with expressions of terror or desperate supplication. A few appear to be attempting to shield loved ones, highlighting the familial bonds that persist even amidst such widespread calamity. The artist has rendered these figures with considerable anatomical detail, emphasizing the physicality of their suffering – contorted limbs, strained muscles, and faces etched with fear.
The architectural setting is partially visible, suggesting a once-grand structure now crumbling under the force of the disaster. Columns are fractured, walls appear to be collapsing, and debris litters the foreground. This backdrop serves not only as context but also reinforces the scale of the destruction; it’s not merely individuals suffering, but an entire civilization being erased.
The composition is structured around a diagonal axis that leads the viewers eye from the lower left corner towards the fiery sky. This creates a sense of upward movement and emphasizes the overwhelming power of the natural forces at play. The artist has employed dramatic chiaroscuro – strong contrasts between light and dark – to heighten the emotional impact of the scene, drawing attention to key figures and intensifying the overall atmosphere of dread.
Subtly embedded within this depiction is a commentary on human mortality and the fragility of civilization. The disaster serves as a stark reminder of humanitys vulnerability in the face of nature’s power. There’s also an element of theatricality present, with the arrangement of figures resembling a stage tableau, suggesting that even tragedy can be viewed through a lens of spectacle. Ultimately, the work explores themes of loss, despair, and the enduring human spirit confronted by overwhelming adversity.