The Brazen Serpent (Bruni)

Prompt: How does The Brazen Serpent (Bruni) explain its Plot and description?

The plot of the painting "Brazen Serpen" is based on a story described in the Old Testament, in the Book of Numbers, the fourth book of the Torah. After years of wandering in the waterless, stony desert through which Moses led the people of Judah out of Egyptian captivity, the people began to murmur because they doubted the prophet's ability to lead them. Then the Lord's punishment came upon them-the rain of poisonous serpents. They repented and began to ask for forgiveness, and then Moses set up the brazen serpent, as the Lord had commanded him, so that those who looked at it with true faith would live and be healed of the serpent's bites:"Then the Lord said to Moses, ‘Make a snake image and mount it on a pole. When anyone who is bitten looks at it, he will recover.’ So Moses made a bronze snake and mounted it on a pole. Whenever someone was bitten, and he looked at the bronze snake, he recovered’”. (Numbers 21:8-9)Bruni himself, discussing the idea of the painting, wrote: "I tried to make it so that at first glance it would evoke the pathetic pathos of this terrible scene and bear the stamp of God's punishment. The final version of the painting is a huge multi-figure composition, in which it is difficult to distinguish any main character. Some people seek salvation in the bronze snake, while others panic and try to avoid the rain of live snakes. Some are shocked by the death of their loved ones, some pray to God for forgiveness, and some curse him and Moses. The painting is full of depictions of grief, pain, horror, and death.In the center of the painting, in the background, is the prophet Moses, pointing with his staff at the brass serpent and signaling with his other hand to approach it. His gaze is stern as he looks over the heads of the suffering people. Next to him stands the high priest Eleazar, son of Aaron, Moses' brother, and behind them a group of Levites. Moses and Eleazar are placed in the geometric center of the canvas, symbolizing supernatural power — on the one hand, to punish (Eleazar), and on the other, to show the way to salvation (Moses).But it is not Moses and Eleazar, but the people in the larger foreground of the painting who first attract the viewer's attention. They are frightened and desperate, not even thinking of seeking salvation or looking at the bronze snake: it is as if they do not hear Moses or are simply incapable of heeding his advice. In the centre of the painting is a young man of athletic build, writhing in agony from snakebites. His leg is coiled with a snake, and his mouth is wide open: apparently cursing everyone "in fury and blasphemy". His figure is sometimes compared to Lanae. Sometimes his figure is compared to Laocoon, the priest of the god Apollo in Troy, who according to legend was strangled by snakes with his sons ("Laocoon and his sons").In the right foreground of the painting, a woman rushes towards her husband in fear and despair. The woman's face bears a resemblance to that of Angelica, Bruni's wife. Such an introduction of the artist's native image into the painting can be seen as a manifestation of romanticism in history painting. This woman is the local centre of the right-hand side of the painting: everyone around her is also gripped by terror. The fact that many people seek protection from their relatives and friends does not quite fit in with the biblical description, according to which it was enough to look at a bronze snake to heal people.The foreground of the left side of the canvas underwent significant changes during the course of the painting. In early sketches and in the first version (underpainting) of the painting, Bruni depicted a group of four people reaching for the bronze snake — a man carrying an old father, his wife and his son. In the final version of the painting, the group is very different — the son, his leg bandaged from the fatal bite, dying in the arms of his father and mother. Despite the depth of their grief, they do not try to reach the bronze snake: apparently having lost all hope of saving their son.To her right, a girl bent over the stone. Bruni himself described her as follows: "She is an orphan, robbed of everything on earth. She embraces, half kneeling, a stone. This stone is the only refuge for the wretched. She embraces it, weeping, and waters it with her tears". And the artist continued: "One of her brothers, still an infant, lies beside this stone — grief. I painted him dead of hunger".To the right of the girl, in the background, the artist has depicted a man leaning over a dying young woman (a bride, according to Bruni). He tries in vain to open her eyes in the hope that she will see the bronze snake. Nearby, leaning over her and putting her hand to the dying woman's heart, is an older woman, her mother.At the same time, some of the people in the background of the painting are approaching the serpent, searching for salvation. Among them is a mother with an infant, standing at the foot of a column, holding the baby's hands to it. On the right of the painting, a man carries his exhausted wife in his arms, looking hopefully towards the "Brazen Serpent" — dressed in white, she most clearly symbolises religious insight and faith in healing, with Bruni himself characterising her state as "ecstasy".The mother of two children to her left seems to be looking at this woman. But she is not: in fact she is looking up at the sky from which snakes are falling and, according to Bruni, 'fearing for her children, she wants to cover them with the hollow of her clothes'. Still to the left is a kneeling woman with a dead child in front of her. Although she is facing the bronze snake, there is no faith in redemption in her gaze, only maternal grief and resignation to fate.As a landscape, Bruni depicted, in his own words, a place 'in the middle of the stony Arabian desert near the Red Sea, where high, steep cliffs rise, the foothills of Mount Or[en]'. As the artist had never been there himself, the whole landscape was painted by his imagination: the rocks and mountains, the earth and the sky. The dark landscape, with storm clouds from which poisonous snakes fall, emphasises the ruthlessness of the punishment and the horror that engulfed the people. In this sense, the landscape plays the role of an actor in the painting. Together with the effects of light and colour, this can be seen as a manifestation of Romanticism in Bruni's classicism painting.As for the lighting of the painting, it is conditional, since it is impossible to identify a specific source of light. Most of the sky is covered with clouds, with only a small gap visible in the distance, but clearly not enough to illuminate the entire space of the painting. The groups of people in the foreground and background are relatively evenly lit. Nevertheless, some figures seem to be emitting light of their own, such as the woman dressed in white and carried by her husband.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: In The Brazen Serpent (Bruni), how is the Plot and description discussed?

The plot of the painting "Brazen Serpen" is based on a story described in the Old Testament, in the Book of Numbers, the fourth book of the Torah. After years of wandering in the waterless, stony desert through which Moses led the people of Judah out of Egyptian captivity, the people began to murmur because they doubted the prophet's ability to lead them. Then the Lord's punishment came upon them-the rain of poisonous serpents. They repented and began to ask for forgiveness, and then Moses set up the brazen serpent, as the Lord had commanded him, so that those who looked at it with true faith would live and be healed of the serpent's bites:"Then the Lord said to Moses, ‘Make a snake image and mount it on a pole. When anyone who is bitten looks at it, he will recover.’ So Moses made a bronze snake and mounted it on a pole. Whenever someone was bitten, and he looked at the bronze snake, he recovered’”. (Numbers 21:8-9)Bruni himself, discussing the idea of the painting, wrote: "I tried to make it so that at first glance it would evoke the pathetic pathos of this terrible scene and bear the stamp of God's punishment. The final version of the painting is a huge multi-figure composition, in which it is difficult to distinguish any main character. Some people seek salvation in the bronze snake, while others panic and try to avoid the rain of live snakes. Some are shocked by the death of their loved ones, some pray to God for forgiveness, and some curse him and Moses. The painting is full of depictions of grief, pain, horror, and death.In the center of the painting, in the background, is the prophet Moses, pointing with his staff at the brass serpent and signaling with his other hand to approach it. His gaze is stern as he looks over the heads of the suffering people. Next to him stands the high priest Eleazar, son of Aaron, Moses' brother, and behind them a group of Levites. Moses and Eleazar are placed in the geometric center of the canvas, symbolizing supernatural power — on the one hand, to punish (Eleazar), and on the other, to show the way to salvation (Moses).But it is not Moses and Eleazar, but the people in the larger foreground of the painting who first attract the viewer's attention. They are frightened and desperate, not even thinking of seeking salvation or looking at the bronze snake: it is as if they do not hear Moses or are simply incapable of heeding his advice. In the centre of the painting is a young man of athletic build, writhing in agony from snakebites. His leg is coiled with a snake, and his mouth is wide open: apparently cursing everyone "in fury and blasphemy". His figure is sometimes compared to Lanae. Sometimes his figure is compared to Laocoon, the priest of the god Apollo in Troy, who according to legend was strangled by snakes with his sons ("Laocoon and his sons").In the right foreground of the painting, a woman rushes towards her husband in fear and despair. The woman's face bears a resemblance to that of Angelica, Bruni's wife. Such an introduction of the artist's native image into the painting can be seen as a manifestation of romanticism in history painting. This woman is the local centre of the right-hand side of the painting: everyone around her is also gripped by terror. The fact that many people seek protection from their relatives and friends does not quite fit in with the biblical description, according to which it was enough to look at a bronze snake to heal people.The foreground of the left side of the canvas underwent significant changes during the course of the painting. In early sketches and in the first version (underpainting) of the painting, Bruni depicted a group of four people reaching for the bronze snake — a man carrying an old father, his wife and his son. In the final version of the painting, the group is very different — the son, his leg bandaged from the fatal bite, dying in the arms of his father and mother. Despite the depth of their grief, they do not try to reach the bronze snake: apparently having lost all hope of saving their son.To her right, a girl bent over the stone. Bruni himself described her as follows: "She is an orphan, robbed of everything on earth. She embraces, half kneeling, a stone. This stone is the only refuge for the wretched. She embraces it, weeping, and waters it with her tears". And the artist continued: "One of her brothers, still an infant, lies beside this stone — grief. I painted him dead of hunger".To the right of the girl, in the background, the artist has depicted a man leaning over a dying young woman (a bride, according to Bruni). He tries in vain to open her eyes in the hope that she will see the bronze snake. Nearby, leaning over her and putting her hand to the dying woman's heart, is an older woman, her mother.At the same time, some of the people in the background of the painting are approaching the serpent, searching for salvation. Among them is a mother with an infant, standing at the foot of a column, holding the baby's hands to it. On the right of the painting, a man carries his exhausted wife in his arms, looking hopefully towards the "Brazen Serpent" — dressed in white, she most clearly symbolises religious insight and faith in healing, with Bruni himself characterising her state as "ecstasy".The mother of two children to her left seems to be looking at this woman. But she is not: in fact she is looking up at the sky from which snakes are falling and, according to Bruni, 'fearing for her children, she wants to cover them with the hollow of her clothes'. Still to the left is a kneeling woman with a dead child in front of her. Although she is facing the bronze snake, there is no faith in redemption in her gaze, only maternal grief and resignation to fate.As a landscape, Bruni depicted, in his own words, a place 'in the middle of the stony Arabian desert near the Red Sea, where high, steep cliffs rise, the foothills of Mount Or[en]'. As the artist had never been there himself, the whole landscape was painted by his imagination: the rocks and mountains, the earth and the sky. The dark landscape, with storm clouds from which poisonous snakes fall, emphasises the ruthlessness of the punishment and the horror that engulfed the people. In this sense, the landscape plays the role of an actor in the painting. Together with the effects of light and colour, this can be seen as a manifestation of Romanticism in Bruni's classicism painting.As for the lighting of the painting, it is conditional, since it is impossible to identify a specific source of light. Most of the sky is covered with clouds, with only a small gap visible in the distance, but clearly not enough to illuminate the entire space of the painting. The groups of people in the foreground and background are relatively evenly lit. Nevertheless, some figures seem to be emitting light of their own, such as the woman dressed in white and carried by her husband.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: Focus on The Brazen Serpent (Bruni) and explain the History.

Fyodor Bruni worked on the painting for about fifteen years, with the earliest sketch on the subject dating from 1824. In February 1827, Bruni reported to the Society for the Encouragement of Artists (SEA) that he was beginning to work on a large painting based on an Old Testament story. He noted that among his sketches, he had "stopped on one in particular, which I would like to produce in a large painting... it represents the erection of a bronze snake in the desert". The SEA's committee, which generally approved of the artist's idea, tried in the same year to warn him of the difficulties involved in creating a large multi-figure composition, to which Bruni replied that "the figures in the above picture will be life-size... and therefore the whole picture will be quite large, but since it has already begun, I do not want to leave it".Fyodor Bruni began to work on the final version of the painting "Brazen Serpent" in Italy in 1833-1834. In 1833 he had underpainted a general sketch (cardboard), and in early 1834 he reported that his "painting 'Moses' will soon be finisged" and that "everyone is horrified by its enormity, especially the Germans", but he did not really care: "as soon as we have money, everything would be fine".In 1835 it became known that Emperor Nicholas I had ordered Fyodor Bruni and Karl Bryullov to return to St. Petersburg "to take up professorships at the Academy of Arts". Since Bruni was still working on the painting "The Brazen Serpent", he tried to postpone the date of his departure from Italy, and the diplomat Nikolai Guriev, who was an envoy to Rome at that time, interceded for him. As a result, Bruni's departure was postponed until the beginning of 1836, but he did not finish the painting.In the summer of 1836, Fyodor Bruni returned to Russia, where he was appointed professor at the Academy of Arts. At the Academic Exhibition in the fall of 1836, he exhibited his sketches for "Brazen Serpent", which aroused great interest and were noted in the press. In 1837-1838, Bruni continued to work at the Academy, but spoke of his desire to return to Italy to complete a major painting. In the end, the highest permission was obtained, the documents were drawn up, and in September 1838 Bruni went to Rome with his wife Angelica and his one-and-a-half-year-old daughter Teresa.From 1838, Fyodor Bruni continued to work on the painting in Rome. In 1839, he wrote a letter to the Minister of the Imperial Court, Peter Volkonsky, complaining about the difficult financial situation due to the fact that he had stopped paying his salary. By that time his family had grown — his son Alexander was born. However, Nicholas I initially refused, ordering that payments be suspended until Bruni returned to Russia. In the fall of 1839, Bruni wrote a second petition, pointing out that he was working continuously and "with all his energy" on a large painting "Moses", but the situation was such that "in this situation I must no longer think about my great painting — the only purpose of my trip to Italy, and the daily livelihood of my family, to which I must devote all my work. After this, the emperor changed his mind and ordered the resumption of the payment of salaries, "but in order that next year himself to bring here next year to complete his painting".Nevertheless, by the fall of 1840, the painting was not ready, and Bruni again had to ask for a postponement, this time until the following spring. Finally, April 15, 1841, he reported that "a large, depicting Moses painting, the execution of which necessitated my trip to Rome, is completely finished". At first the canvas was exhibited in Rome. Being there, Alexander Ivanov wrote that "here everyone was pleased, especially the Italians, but the Germans destroyed it in his journal" — Ivanov meant a Nazarene movement led by Johann Friedrich Overbeck. Bruni wrote: "As for me, I am delighted at the universal success my work has had".At the end of June 1841, the painting “Brazen Serpent” was sent to Russia. In September of the same year it was exhibited in the Winter Palace, and some time later it was moved to the Academy of Arts. There in the fall of 1842 began its public exhibition. Emperor Nicholas I liked the painting and purchased it for 30,000 rubles in assignments (according to other reports, it was purchased for 70,000 rubles), and the artist himself was awarded the Order of St. Vladimir of the 4th level.After that, the painting was in the Russian School Hall of the Hermitage. In 1897, it was transferred to the then emerging Russian Museum of Emperor Alexander III (now the State Russian Museum), where it is still located. After the opening of the museum in 1898, it was exhibited in the Mikhailovsky Palace, in the same room with another painting by Bruni, "The Death of Camilla, Sister of Horace". According to the recollections of Alexander Benois, in the same room were "The Last Day of Pompeii" and "The Siege of Pskov" by Bryullov, "Christian Martyrs in the Colosseum" by Flavitsky, "The Appearance of Christ to Mary Magdalene after the Resurrection" by Ivanov, "Last Supper" by Ge, and two or three other paintings by Aivazovsky. Referring to the fact that both in the Hermitage and after its transfer to the Russian Museum, "Brazen Serpent" was placed next to "The Last Day of Pompeii", Alexander Benois wrote: "Both colossi of Russian painting found a place on the same wall <...>, as if these giants were actually paired works".During the II World War some paintings from the collections of the State Russian Museum were evacuated to Molotov (Perm). For such large-format paintings as "Brazen Serpent", wooden shafts up to 10 meters long and 60 to 120 cm in diameter were specially made, on which they were wound. These shafts were made of plywood on a wooden frame covered with artificial chamois.From February 2000 to December 2002, a large-scale restoration of the painting was carried out, aimed at strengthening the canvas, the paint layer and the ground, as well as cleaning the darkened varnish layer. The work on the painting "Brazen Serpent" was carried out by a specially created team of the Russian Museum's Restoration Department, which included Andrei Bogomolov, Anton Makarov and Alexander Minin. As a result, the appearance of the painting was brought as close as possible to the coloristic intentions of its author. After the restoration was completed, an exhibition was held in early 2003, which, in addition to the updated "Brazen Serpent", included the cardboards used by Bruni in preparation for the painting.Nowadays, the painting "Brazen Serpent" is exhibited in the Hall 15 of the Mikhailovsky Palace, where, in addition to it, are exhibited "The Heroism of the Young Kiev" by Andrey Ivanov, "Testing Yan Usmar's Strength" by Grigory Ugryumov, "The Appearance of Christ to Mary Magdalene after the Resurrection" by Alexander Ivanov, as well as his sketches and studies for the painting "The Appearance of Christ to the People".

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: Explain the History of this artwork, The Brazen Serpent (Bruni).

Fyodor Bruni worked on the painting for about fifteen years, with the earliest sketch on the subject dating from 1824. In February 1827, Bruni reported to the Society for the Encouragement of Artists (SEA) that he was beginning to work on a large painting based on an Old Testament story. He noted that among his sketches, he had "stopped on one in particular, which I would like to produce in a large painting... it represents the erection of a bronze snake in the desert". The SEA's committee, which generally approved of the artist's idea, tried in the same year to warn him of the difficulties involved in creating a large multi-figure composition, to which Bruni replied that "the figures in the above picture will be life-size... and therefore the whole picture will be quite large, but since it has already begun, I do not want to leave it".Fyodor Bruni began to work on the final version of the painting "Brazen Serpent" in Italy in 1833-1834. In 1833 he had underpainted a general sketch (cardboard), and in early 1834 he reported that his "painting 'Moses' will soon be finisged" and that "everyone is horrified by its enormity, especially the Germans", but he did not really care: "as soon as we have money, everything would be fine".In 1835 it became known that Emperor Nicholas I had ordered Fyodor Bruni and Karl Bryullov to return to St. Petersburg "to take up professorships at the Academy of Arts". Since Bruni was still working on the painting "The Brazen Serpent", he tried to postpone the date of his departure from Italy, and the diplomat Nikolai Guriev, who was an envoy to Rome at that time, interceded for him. As a result, Bruni's departure was postponed until the beginning of 1836, but he did not finish the painting.In the summer of 1836, Fyodor Bruni returned to Russia, where he was appointed professor at the Academy of Arts. At the Academic Exhibition in the fall of 1836, he exhibited his sketches for "Brazen Serpent", which aroused great interest and were noted in the press. In 1837-1838, Bruni continued to work at the Academy, but spoke of his desire to return to Italy to complete a major painting. In the end, the highest permission was obtained, the documents were drawn up, and in September 1838 Bruni went to Rome with his wife Angelica and his one-and-a-half-year-old daughter Teresa.From 1838, Fyodor Bruni continued to work on the painting in Rome. In 1839, he wrote a letter to the Minister of the Imperial Court, Peter Volkonsky, complaining about the difficult financial situation due to the fact that he had stopped paying his salary. By that time his family had grown — his son Alexander was born. However, Nicholas I initially refused, ordering that payments be suspended until Bruni returned to Russia. In the fall of 1839, Bruni wrote a second petition, pointing out that he was working continuously and "with all his energy" on a large painting "Moses", but the situation was such that "in this situation I must no longer think about my great painting — the only purpose of my trip to Italy, and the daily livelihood of my family, to which I must devote all my work. After this, the emperor changed his mind and ordered the resumption of the payment of salaries, "but in order that next year himself to bring here next year to complete his painting".Nevertheless, by the fall of 1840, the painting was not ready, and Bruni again had to ask for a postponement, this time until the following spring. Finally, April 15, 1841, he reported that "a large, depicting Moses painting, the execution of which necessitated my trip to Rome, is completely finished". At first the canvas was exhibited in Rome. Being there, Alexander Ivanov wrote that "here everyone was pleased, especially the Italians, but the Germans destroyed it in his journal" — Ivanov meant a Nazarene movement led by Johann Friedrich Overbeck. Bruni wrote: "As for me, I am delighted at the universal success my work has had".At the end of June 1841, the painting “Brazen Serpent” was sent to Russia. In September of the same year it was exhibited in the Winter Palace, and some time later it was moved to the Academy of Arts. There in the fall of 1842 began its public exhibition. Emperor Nicholas I liked the painting and purchased it for 30,000 rubles in assignments (according to other reports, it was purchased for 70,000 rubles), and the artist himself was awarded the Order of St. Vladimir of the 4th level.After that, the painting was in the Russian School Hall of the Hermitage. In 1897, it was transferred to the then emerging Russian Museum of Emperor Alexander III (now the State Russian Museum), where it is still located. After the opening of the museum in 1898, it was exhibited in the Mikhailovsky Palace, in the same room with another painting by Bruni, "The Death of Camilla, Sister of Horace". According to the recollections of Alexander Benois, in the same room were "The Last Day of Pompeii" and "The Siege of Pskov" by Bryullov, "Christian Martyrs in the Colosseum" by Flavitsky, "The Appearance of Christ to Mary Magdalene after the Resurrection" by Ivanov, "Last Supper" by Ge, and two or three other paintings by Aivazovsky. Referring to the fact that both in the Hermitage and after its transfer to the Russian Museum, "Brazen Serpent" was placed next to "The Last Day of Pompeii", Alexander Benois wrote: "Both colossi of Russian painting found a place on the same wall <...>, as if these giants were actually paired works".During the II World War some paintings from the collections of the State Russian Museum were evacuated to Molotov (Perm). For such large-format paintings as "Brazen Serpent", wooden shafts up to 10 meters long and 60 to 120 cm in diameter were specially made, on which they were wound. These shafts were made of plywood on a wooden frame covered with artificial chamois.From February 2000 to December 2002, a large-scale restoration of the painting was carried out, aimed at strengthening the canvas, the paint layer and the ground, as well as cleaning the darkened varnish layer. The work on the painting "Brazen Serpent" was carried out by a specially created team of the Russian Museum's Restoration Department, which included Andrei Bogomolov, Anton Makarov and Alexander Minin. As a result, the appearance of the painting was brought as close as possible to the coloristic intentions of its author. After the restoration was completed, an exhibition was held in early 2003, which, in addition to the updated "Brazen Serpent", included the cardboards used by Bruni in preparation for the painting.Nowadays, the painting "Brazen Serpent" is exhibited in the Hall 15 of the Mikhailovsky Palace, where, in addition to it, are exhibited "The Heroism of the Young Kiev" by Andrey Ivanov, "Testing Yan Usmar's Strength" by Grigory Ugryumov, "The Appearance of Christ to Mary Magdalene after the Resurrection" by Alexander Ivanov, as well as his sketches and studies for the painting "The Appearance of Christ to the People".

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: How does The Brazen Serpent (Bruni) explain its History?

Fyodor Bruni worked on the painting for about fifteen years, with the earliest sketch on the subject dating from 1824. In February 1827, Bruni reported to the Society for the Encouragement of Artists (SEA) that he was beginning to work on a large painting based on an Old Testament story. He noted that among his sketches, he had "stopped on one in particular, which I would like to produce in a large painting... it represents the erection of a bronze snake in the desert". The SEA's committee, which generally approved of the artist's idea, tried in the same year to warn him of the difficulties involved in creating a large multi-figure composition, to which Bruni replied that "the figures in the above picture will be life-size... and therefore the whole picture will be quite large, but since it has already begun, I do not want to leave it".Fyodor Bruni began to work on the final version of the painting "Brazen Serpent" in Italy in 1833-1834. In 1833 he had underpainted a general sketch (cardboard), and in early 1834 he reported that his "painting 'Moses' will soon be finisged" and that "everyone is horrified by its enormity, especially the Germans", but he did not really care: "as soon as we have money, everything would be fine".In 1835 it became known that Emperor Nicholas I had ordered Fyodor Bruni and Karl Bryullov to return to St. Petersburg "to take up professorships at the Academy of Arts". Since Bruni was still working on the painting "The Brazen Serpent", he tried to postpone the date of his departure from Italy, and the diplomat Nikolai Guriev, who was an envoy to Rome at that time, interceded for him. As a result, Bruni's departure was postponed until the beginning of 1836, but he did not finish the painting.In the summer of 1836, Fyodor Bruni returned to Russia, where he was appointed professor at the Academy of Arts. At the Academic Exhibition in the fall of 1836, he exhibited his sketches for "Brazen Serpent", which aroused great interest and were noted in the press. In 1837-1838, Bruni continued to work at the Academy, but spoke of his desire to return to Italy to complete a major painting. In the end, the highest permission was obtained, the documents were drawn up, and in September 1838 Bruni went to Rome with his wife Angelica and his one-and-a-half-year-old daughter Teresa.From 1838, Fyodor Bruni continued to work on the painting in Rome. In 1839, he wrote a letter to the Minister of the Imperial Court, Peter Volkonsky, complaining about the difficult financial situation due to the fact that he had stopped paying his salary. By that time his family had grown — his son Alexander was born. However, Nicholas I initially refused, ordering that payments be suspended until Bruni returned to Russia. In the fall of 1839, Bruni wrote a second petition, pointing out that he was working continuously and "with all his energy" on a large painting "Moses", but the situation was such that "in this situation I must no longer think about my great painting — the only purpose of my trip to Italy, and the daily livelihood of my family, to which I must devote all my work. After this, the emperor changed his mind and ordered the resumption of the payment of salaries, "but in order that next year himself to bring here next year to complete his painting".Nevertheless, by the fall of 1840, the painting was not ready, and Bruni again had to ask for a postponement, this time until the following spring. Finally, April 15, 1841, he reported that "a large, depicting Moses painting, the execution of which necessitated my trip to Rome, is completely finished". At first the canvas was exhibited in Rome. Being there, Alexander Ivanov wrote that "here everyone was pleased, especially the Italians, but the Germans destroyed it in his journal" — Ivanov meant a Nazarene movement led by Johann Friedrich Overbeck. Bruni wrote: "As for me, I am delighted at the universal success my work has had".At the end of June 1841, the painting “Brazen Serpent” was sent to Russia. In September of the same year it was exhibited in the Winter Palace, and some time later it was moved to the Academy of Arts. There in the fall of 1842 began its public exhibition. Emperor Nicholas I liked the painting and purchased it for 30,000 rubles in assignments (according to other reports, it was purchased for 70,000 rubles), and the artist himself was awarded the Order of St. Vladimir of the 4th level.After that, the painting was in the Russian School Hall of the Hermitage. In 1897, it was transferred to the then emerging Russian Museum of Emperor Alexander III (now the State Russian Museum), where it is still located. After the opening of the museum in 1898, it was exhibited in the Mikhailovsky Palace, in the same room with another painting by Bruni, "The Death of Camilla, Sister of Horace". According to the recollections of Alexander Benois, in the same room were "The Last Day of Pompeii" and "The Siege of Pskov" by Bryullov, "Christian Martyrs in the Colosseum" by Flavitsky, "The Appearance of Christ to Mary Magdalene after the Resurrection" by Ivanov, "Last Supper" by Ge, and two or three other paintings by Aivazovsky. Referring to the fact that both in the Hermitage and after its transfer to the Russian Museum, "Brazen Serpent" was placed next to "The Last Day of Pompeii", Alexander Benois wrote: "Both colossi of Russian painting found a place on the same wall <...>, as if these giants were actually paired works".During the II World War some paintings from the collections of the State Russian Museum were evacuated to Molotov (Perm). For such large-format paintings as "Brazen Serpent", wooden shafts up to 10 meters long and 60 to 120 cm in diameter were specially made, on which they were wound. These shafts were made of plywood on a wooden frame covered with artificial chamois.From February 2000 to December 2002, a large-scale restoration of the painting was carried out, aimed at strengthening the canvas, the paint layer and the ground, as well as cleaning the darkened varnish layer. The work on the painting "Brazen Serpent" was carried out by a specially created team of the Russian Museum's Restoration Department, which included Andrei Bogomolov, Anton Makarov and Alexander Minin. As a result, the appearance of the painting was brought as close as possible to the coloristic intentions of its author. After the restoration was completed, an exhibition was held in early 2003, which, in addition to the updated "Brazen Serpent", included the cardboards used by Bruni in preparation for the painting.Nowadays, the painting "Brazen Serpent" is exhibited in the Hall 15 of the Mikhailovsky Palace, where, in addition to it, are exhibited "The Heroism of the Young Kiev" by Andrey Ivanov, "Testing Yan Usmar's Strength" by Grigory Ugryumov, "The Appearance of Christ to Mary Magdalene after the Resurrection" by Alexander Ivanov, as well as his sketches and studies for the painting "The Appearance of Christ to the People".

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: In The Brazen Serpent (Bruni), how is the History discussed?

Fyodor Bruni worked on the painting for about fifteen years, with the earliest sketch on the subject dating from 1824. In February 1827, Bruni reported to the Society for the Encouragement of Artists (SEA) that he was beginning to work on a large painting based on an Old Testament story. He noted that among his sketches, he had "stopped on one in particular, which I would like to produce in a large painting... it represents the erection of a bronze snake in the desert". The SEA's committee, which generally approved of the artist's idea, tried in the same year to warn him of the difficulties involved in creating a large multi-figure composition, to which Bruni replied that "the figures in the above picture will be life-size... and therefore the whole picture will be quite large, but since it has already begun, I do not want to leave it".Fyodor Bruni began to work on the final version of the painting "Brazen Serpent" in Italy in 1833-1834. In 1833 he had underpainted a general sketch (cardboard), and in early 1834 he reported that his "painting 'Moses' will soon be finisged" and that "everyone is horrified by its enormity, especially the Germans", but he did not really care: "as soon as we have money, everything would be fine".In 1835 it became known that Emperor Nicholas I had ordered Fyodor Bruni and Karl Bryullov to return to St. Petersburg "to take up professorships at the Academy of Arts". Since Bruni was still working on the painting "The Brazen Serpent", he tried to postpone the date of his departure from Italy, and the diplomat Nikolai Guriev, who was an envoy to Rome at that time, interceded for him. As a result, Bruni's departure was postponed until the beginning of 1836, but he did not finish the painting.In the summer of 1836, Fyodor Bruni returned to Russia, where he was appointed professor at the Academy of Arts. At the Academic Exhibition in the fall of 1836, he exhibited his sketches for "Brazen Serpent", which aroused great interest and were noted in the press. In 1837-1838, Bruni continued to work at the Academy, but spoke of his desire to return to Italy to complete a major painting. In the end, the highest permission was obtained, the documents were drawn up, and in September 1838 Bruni went to Rome with his wife Angelica and his one-and-a-half-year-old daughter Teresa.From 1838, Fyodor Bruni continued to work on the painting in Rome. In 1839, he wrote a letter to the Minister of the Imperial Court, Peter Volkonsky, complaining about the difficult financial situation due to the fact that he had stopped paying his salary. By that time his family had grown — his son Alexander was born. However, Nicholas I initially refused, ordering that payments be suspended until Bruni returned to Russia. In the fall of 1839, Bruni wrote a second petition, pointing out that he was working continuously and "with all his energy" on a large painting "Moses", but the situation was such that "in this situation I must no longer think about my great painting — the only purpose of my trip to Italy, and the daily livelihood of my family, to which I must devote all my work. After this, the emperor changed his mind and ordered the resumption of the payment of salaries, "but in order that next year himself to bring here next year to complete his painting".Nevertheless, by the fall of 1840, the painting was not ready, and Bruni again had to ask for a postponement, this time until the following spring. Finally, April 15, 1841, he reported that "a large, depicting Moses painting, the execution of which necessitated my trip to Rome, is completely finished". At first the canvas was exhibited in Rome. Being there, Alexander Ivanov wrote that "here everyone was pleased, especially the Italians, but the Germans destroyed it in his journal" — Ivanov meant a Nazarene movement led by Johann Friedrich Overbeck. Bruni wrote: "As for me, I am delighted at the universal success my work has had".At the end of June 1841, the painting “Brazen Serpent” was sent to Russia. In September of the same year it was exhibited in the Winter Palace, and some time later it was moved to the Academy of Arts. There in the fall of 1842 began its public exhibition. Emperor Nicholas I liked the painting and purchased it for 30,000 rubles in assignments (according to other reports, it was purchased for 70,000 rubles), and the artist himself was awarded the Order of St. Vladimir of the 4th level.After that, the painting was in the Russian School Hall of the Hermitage. In 1897, it was transferred to the then emerging Russian Museum of Emperor Alexander III (now the State Russian Museum), where it is still located. After the opening of the museum in 1898, it was exhibited in the Mikhailovsky Palace, in the same room with another painting by Bruni, "The Death of Camilla, Sister of Horace". According to the recollections of Alexander Benois, in the same room were "The Last Day of Pompeii" and "The Siege of Pskov" by Bryullov, "Christian Martyrs in the Colosseum" by Flavitsky, "The Appearance of Christ to Mary Magdalene after the Resurrection" by Ivanov, "Last Supper" by Ge, and two or three other paintings by Aivazovsky. Referring to the fact that both in the Hermitage and after its transfer to the Russian Museum, "Brazen Serpent" was placed next to "The Last Day of Pompeii", Alexander Benois wrote: "Both colossi of Russian painting found a place on the same wall <...>, as if these giants were actually paired works".During the II World War some paintings from the collections of the State Russian Museum were evacuated to Molotov (Perm). For such large-format paintings as "Brazen Serpent", wooden shafts up to 10 meters long and 60 to 120 cm in diameter were specially made, on which they were wound. These shafts were made of plywood on a wooden frame covered with artificial chamois.From February 2000 to December 2002, a large-scale restoration of the painting was carried out, aimed at strengthening the canvas, the paint layer and the ground, as well as cleaning the darkened varnish layer. The work on the painting "Brazen Serpent" was carried out by a specially created team of the Russian Museum's Restoration Department, which included Andrei Bogomolov, Anton Makarov and Alexander Minin. As a result, the appearance of the painting was brought as close as possible to the coloristic intentions of its author. After the restoration was completed, an exhibition was held in early 2003, which, in addition to the updated "Brazen Serpent", included the cardboards used by Bruni in preparation for the painting.Nowadays, the painting "Brazen Serpent" is exhibited in the Hall 15 of the Mikhailovsky Palace, where, in addition to it, are exhibited "The Heroism of the Young Kiev" by Andrey Ivanov, "Testing Yan Usmar's Strength" by Grigory Ugryumov, "The Appearance of Christ to Mary Magdalene after the Resurrection" by Alexander Ivanov, as well as his sketches and studies for the painting "The Appearance of Christ to the People".

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: Focus on The Brazen Serpent (Bruni) and explain the Reviews and critics.

The artist and critic Alexandre Benois in his book "History of Russian Painting in the 19th Century" wrote that "influenced by the grandiose success of Brullov" (meaning the success of the painting "The Last Day of Pompeii"), Bruni "took on a picture of equally colossal size: for his "Brazen Serpent", which was completed in 1840 and had the same success in Rome as "Pompeii", but a little less in St. Petersburg". In another book by Benois, "The Russian School of Painting", a whole chapter is devoted to a comparative characterization of Bruni and Brullov, mainly on the example of the paintings in question. In particular, he noted that "Bruni, in the splendor of his seasoned and almost flawless skill, leaves far behind him the uneven and often tasteless Brullov," but the reason for Bruni's less popularity is that he is inferior to Brullov in temperament. And further Benois explained: "his [Bruni's] art quite satisfied the requirements of the state, won the admiration of connoisseurs, but did not possess the means to impress the masses — something that Brullov's work undoubtedly possessed".The literary historian and censor Alexander Nikitenko wrote in his diary on 27 October 1841: "I went to the palace and saw Bruni's painting 'Brazen Serpent'. I expected much more. It is a picture of various deaths, and where is the poetic idea of Moses with his miracle? Moses glimmers in the distance with a vague shadow, and all you see are heaps of dying people, depicted with horrifying truth. The artist was obviously concerned not with the artistic but with the anatomical truth of the figures".The literary critic Stepan Shevyryov said that Bruni's painting inseparably combined two thoughts: religious and pictorial. The religious thought was connected with the depiction of what miracle true faith can perform to save suffering people, and the pictorial thought was aimed at "depicting the physical suffering of the distressed people". On this basis, Shevyryov believed that "the main action of the painting" was connected with the image of the woman being carried by her husband: on her face "a ray of healing has already shone". At the same time, according to Shevyryov, by depicting a man lying in agony in the centre of the painting, the artist "wanted to present us with a gloomy picture of unbelief".Another literary critic, Vasily Botkin, noted that "opinions about this painting are divided: some see it as a deeply respectable work of the professor, others — the creation of a high talent. He himself believed that "the reason for such a difference of opinion lies in the fact that the artist did not give himself a thorough account of the idea of his painting, and the lack of internal, lively content was replaced by a dramatic variety of details", while emphasising that "art first of all requires a definite and itself clear idea".The poet and pedagogue Alexander Balasoglo wrote: "The raising of the brass snake in the desert by Moses" is a huge work, the first painting in the Academy of Arts in terms of size. Effect, movement, fire, scenes, feelings, reflections, talent, expression: there is an abyss, the work is colossal. It can be appreciated only by long study of parts; there are treasures in them, but the general thought of the composition and the main execution: they are obvious. The soul is saddened by the general suffering and longs for a miracle".Art historian Alla Vereshchagina, researching Bruni's work, wrote that he 'proved himself an artist sensitive to the tragic worldview of the Russian people of that time' (the 1820s, when the painting was conceived, and the 1830s, when Bruni worked on it). She continued: 'He found an artistic image that fully expressed his idea... He showed all his innate ability, gave all the strength of his soul, all his talent'.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: Explain the Reviews and critics of this artwork, The Brazen Serpent (Bruni).

The artist and critic Alexandre Benois in his book "History of Russian Painting in the 19th Century" wrote that "influenced by the grandiose success of Brullov" (meaning the success of the painting "The Last Day of Pompeii"), Bruni "took on a picture of equally colossal size: for his "Brazen Serpent", which was completed in 1840 and had the same success in Rome as "Pompeii", but a little less in St. Petersburg". In another book by Benois, "The Russian School of Painting", a whole chapter is devoted to a comparative characterization of Bruni and Brullov, mainly on the example of the paintings in question. In particular, he noted that "Bruni, in the splendor of his seasoned and almost flawless skill, leaves far behind him the uneven and often tasteless Brullov," but the reason for Bruni's less popularity is that he is inferior to Brullov in temperament. And further Benois explained: "his [Bruni's] art quite satisfied the requirements of the state, won the admiration of connoisseurs, but did not possess the means to impress the masses — something that Brullov's work undoubtedly possessed".The literary historian and censor Alexander Nikitenko wrote in his diary on 27 October 1841: "I went to the palace and saw Bruni's painting 'Brazen Serpent'. I expected much more. It is a picture of various deaths, and where is the poetic idea of Moses with his miracle? Moses glimmers in the distance with a vague shadow, and all you see are heaps of dying people, depicted with horrifying truth. The artist was obviously concerned not with the artistic but with the anatomical truth of the figures".The literary critic Stepan Shevyryov said that Bruni's painting inseparably combined two thoughts: religious and pictorial. The religious thought was connected with the depiction of what miracle true faith can perform to save suffering people, and the pictorial thought was aimed at "depicting the physical suffering of the distressed people". On this basis, Shevyryov believed that "the main action of the painting" was connected with the image of the woman being carried by her husband: on her face "a ray of healing has already shone". At the same time, according to Shevyryov, by depicting a man lying in agony in the centre of the painting, the artist "wanted to present us with a gloomy picture of unbelief".Another literary critic, Vasily Botkin, noted that "opinions about this painting are divided: some see it as a deeply respectable work of the professor, others — the creation of a high talent. He himself believed that "the reason for such a difference of opinion lies in the fact that the artist did not give himself a thorough account of the idea of his painting, and the lack of internal, lively content was replaced by a dramatic variety of details", while emphasising that "art first of all requires a definite and itself clear idea".The poet and pedagogue Alexander Balasoglo wrote: "The raising of the brass snake in the desert by Moses" is a huge work, the first painting in the Academy of Arts in terms of size. Effect, movement, fire, scenes, feelings, reflections, talent, expression: there is an abyss, the work is colossal. It can be appreciated only by long study of parts; there are treasures in them, but the general thought of the composition and the main execution: they are obvious. The soul is saddened by the general suffering and longs for a miracle".Art historian Alla Vereshchagina, researching Bruni's work, wrote that he 'proved himself an artist sensitive to the tragic worldview of the Russian people of that time' (the 1820s, when the painting was conceived, and the 1830s, when Bruni worked on it). She continued: 'He found an artistic image that fully expressed his idea... He showed all his innate ability, gave all the strength of his soul, all his talent'.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: How does The Brazen Serpent (Bruni) explain its Reviews and critics?

The artist and critic Alexandre Benois in his book "History of Russian Painting in the 19th Century" wrote that "influenced by the grandiose success of Brullov" (meaning the success of the painting "The Last Day of Pompeii"), Bruni "took on a picture of equally colossal size: for his "Brazen Serpent", which was completed in 1840 and had the same success in Rome as "Pompeii", but a little less in St. Petersburg". In another book by Benois, "The Russian School of Painting", a whole chapter is devoted to a comparative characterization of Bruni and Brullov, mainly on the example of the paintings in question. In particular, he noted that "Bruni, in the splendor of his seasoned and almost flawless skill, leaves far behind him the uneven and often tasteless Brullov," but the reason for Bruni's less popularity is that he is inferior to Brullov in temperament. And further Benois explained: "his [Bruni's] art quite satisfied the requirements of the state, won the admiration of connoisseurs, but did not possess the means to impress the masses — something that Brullov's work undoubtedly possessed".The literary historian and censor Alexander Nikitenko wrote in his diary on 27 October 1841: "I went to the palace and saw Bruni's painting 'Brazen Serpent'. I expected much more. It is a picture of various deaths, and where is the poetic idea of Moses with his miracle? Moses glimmers in the distance with a vague shadow, and all you see are heaps of dying people, depicted with horrifying truth. The artist was obviously concerned not with the artistic but with the anatomical truth of the figures".The literary critic Stepan Shevyryov said that Bruni's painting inseparably combined two thoughts: religious and pictorial. The religious thought was connected with the depiction of what miracle true faith can perform to save suffering people, and the pictorial thought was aimed at "depicting the physical suffering of the distressed people". On this basis, Shevyryov believed that "the main action of the painting" was connected with the image of the woman being carried by her husband: on her face "a ray of healing has already shone". At the same time, according to Shevyryov, by depicting a man lying in agony in the centre of the painting, the artist "wanted to present us with a gloomy picture of unbelief".Another literary critic, Vasily Botkin, noted that "opinions about this painting are divided: some see it as a deeply respectable work of the professor, others — the creation of a high talent. He himself believed that "the reason for such a difference of opinion lies in the fact that the artist did not give himself a thorough account of the idea of his painting, and the lack of internal, lively content was replaced by a dramatic variety of details", while emphasising that "art first of all requires a definite and itself clear idea".The poet and pedagogue Alexander Balasoglo wrote: "The raising of the brass snake in the desert by Moses" is a huge work, the first painting in the Academy of Arts in terms of size. Effect, movement, fire, scenes, feelings, reflections, talent, expression: there is an abyss, the work is colossal. It can be appreciated only by long study of parts; there are treasures in them, but the general thought of the composition and the main execution: they are obvious. The soul is saddened by the general suffering and longs for a miracle".Art historian Alla Vereshchagina, researching Bruni's work, wrote that he 'proved himself an artist sensitive to the tragic worldview of the Russian people of that time' (the 1820s, when the painting was conceived, and the 1830s, when Bruni worked on it). She continued: 'He found an artistic image that fully expressed his idea... He showed all his innate ability, gave all the strength of his soul, all his talent'.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: In The Brazen Serpent (Bruni), how is the Reviews and critics discussed?

The artist and critic Alexandre Benois in his book "History of Russian Painting in the 19th Century" wrote that "influenced by the grandiose success of Brullov" (meaning the success of the painting "The Last Day of Pompeii"), Bruni "took on a picture of equally colossal size: for his "Brazen Serpent", which was completed in 1840 and had the same success in Rome as "Pompeii", but a little less in St. Petersburg". In another book by Benois, "The Russian School of Painting", a whole chapter is devoted to a comparative characterization of Bruni and Brullov, mainly on the example of the paintings in question. In particular, he noted that "Bruni, in the splendor of his seasoned and almost flawless skill, leaves far behind him the uneven and often tasteless Brullov," but the reason for Bruni's less popularity is that he is inferior to Brullov in temperament. And further Benois explained: "his [Bruni's] art quite satisfied the requirements of the state, won the admiration of connoisseurs, but did not possess the means to impress the masses — something that Brullov's work undoubtedly possessed".The literary historian and censor Alexander Nikitenko wrote in his diary on 27 October 1841: "I went to the palace and saw Bruni's painting 'Brazen Serpent'. I expected much more. It is a picture of various deaths, and where is the poetic idea of Moses with his miracle? Moses glimmers in the distance with a vague shadow, and all you see are heaps of dying people, depicted with horrifying truth. The artist was obviously concerned not with the artistic but with the anatomical truth of the figures".The literary critic Stepan Shevyryov said that Bruni's painting inseparably combined two thoughts: religious and pictorial. The religious thought was connected with the depiction of what miracle true faith can perform to save suffering people, and the pictorial thought was aimed at "depicting the physical suffering of the distressed people". On this basis, Shevyryov believed that "the main action of the painting" was connected with the image of the woman being carried by her husband: on her face "a ray of healing has already shone". At the same time, according to Shevyryov, by depicting a man lying in agony in the centre of the painting, the artist "wanted to present us with a gloomy picture of unbelief".Another literary critic, Vasily Botkin, noted that "opinions about this painting are divided: some see it as a deeply respectable work of the professor, others — the creation of a high talent. He himself believed that "the reason for such a difference of opinion lies in the fact that the artist did not give himself a thorough account of the idea of his painting, and the lack of internal, lively content was replaced by a dramatic variety of details", while emphasising that "art first of all requires a definite and itself clear idea".The poet and pedagogue Alexander Balasoglo wrote: "The raising of the brass snake in the desert by Moses" is a huge work, the first painting in the Academy of Arts in terms of size. Effect, movement, fire, scenes, feelings, reflections, talent, expression: there is an abyss, the work is colossal. It can be appreciated only by long study of parts; there are treasures in them, but the general thought of the composition and the main execution: they are obvious. The soul is saddened by the general suffering and longs for a miracle".Art historian Alla Vereshchagina, researching Bruni's work, wrote that he 'proved himself an artist sensitive to the tragic worldview of the Russian people of that time' (the 1820s, when the painting was conceived, and the 1830s, when Bruni worked on it). She continued: 'He found an artistic image that fully expressed his idea... He showed all his innate ability, gave all the strength of his soul, all his talent'.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


Big Bull, India

Prompt: Focus on Big Bull, India and explain the abstract.

The Big Bull is a bronze sculpture of a charging bull designed by Solapur-based sculptor Bhagwan Rampure and was originally located inside the premises of the Bombay Stock Exchange (BSE) on Dalal Street in Mumbai, Maharashtra, India. The sculpture was installed outside the building of Bombay Stock Exchange on 11 January 2008. The bull is inspired by Arturo Di Modica's Charging Bull sculpture that was installed on Wall Street outside the New York Stock Exchange Building in 1989. The Big Bull is 5 feet (1.5 m) tall, 8 feet (2.4 m) long and weighs 1,000 kilograms (2,200 lb).It was relocated to the Gujarat International Finance Tec-City (GIFT City) near Ahmedabad in 2017.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: Explain the abstract of this artwork, Big Bull, India.

The Big Bull is a bronze sculpture of a charging bull designed by Solapur-based sculptor Bhagwan Rampure and was originally located inside the premises of the Bombay Stock Exchange (BSE) on Dalal Street in Mumbai, Maharashtra, India. The sculpture was installed outside the building of Bombay Stock Exchange on 11 January 2008. The bull is inspired by Arturo Di Modica's Charging Bull sculpture that was installed on Wall Street outside the New York Stock Exchange Building in 1989. The Big Bull is 5 feet (1.5 m) tall, 8 feet (2.4 m) long and weighs 1,000 kilograms (2,200 lb).It was relocated to the Gujarat International Finance Tec-City (GIFT City) near Ahmedabad in 2017.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: How does Big Bull, India explain its abstract?

The Big Bull is a bronze sculpture of a charging bull designed by Solapur-based sculptor Bhagwan Rampure and was originally located inside the premises of the Bombay Stock Exchange (BSE) on Dalal Street in Mumbai, Maharashtra, India. The sculpture was installed outside the building of Bombay Stock Exchange on 11 January 2008. The bull is inspired by Arturo Di Modica's Charging Bull sculpture that was installed on Wall Street outside the New York Stock Exchange Building in 1989. The Big Bull is 5 feet (1.5 m) tall, 8 feet (2.4 m) long and weighs 1,000 kilograms (2,200 lb).It was relocated to the Gujarat International Finance Tec-City (GIFT City) near Ahmedabad in 2017.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: In Big Bull, India, how is the abstract discussed?

The Big Bull is a bronze sculpture of a charging bull designed by Solapur-based sculptor Bhagwan Rampure and was originally located inside the premises of the Bombay Stock Exchange (BSE) on Dalal Street in Mumbai, Maharashtra, India. The sculpture was installed outside the building of Bombay Stock Exchange on 11 January 2008. The bull is inspired by Arturo Di Modica's Charging Bull sculpture that was installed on Wall Street outside the New York Stock Exchange Building in 1989. The Big Bull is 5 feet (1.5 m) tall, 8 feet (2.4 m) long and weighs 1,000 kilograms (2,200 lb).It was relocated to the Gujarat International Finance Tec-City (GIFT City) near Ahmedabad in 2017.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: Focus on Big Bull, India and explain the Design.

Rampure was approached by officials of the BSE in 2007 to design the sculpture. He was given photographs of the original sculpture in New York City and studied live bulls to understand their anatomy. A clay model was first designed for the BSE's approval following which the bronze version was made. It was made in four parts owing to its size and took Rampure three months to design and build. While he was allowed to make a few changes to the design, the original pose of the bull was retained owing to the animal's identity in stock markets as a symbol of money. The BSE later commissioned him to create a thousand miniature replicas made of fibre to be given as souvenirs to visiting foreign dignitaries.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: Explain the Design of this artwork, Big Bull, India.

Rampure was approached by officials of the BSE in 2007 to design the sculpture. He was given photographs of the original sculpture in New York City and studied live bulls to understand their anatomy. A clay model was first designed for the BSE's approval following which the bronze version was made. It was made in four parts owing to its size and took Rampure three months to design and build. While he was allowed to make a few changes to the design, the original pose of the bull was retained owing to the animal's identity in stock markets as a symbol of money. The BSE later commissioned him to create a thousand miniature replicas made of fibre to be given as souvenirs to visiting foreign dignitaries.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: How does Big Bull, India explain its Design?

Rampure was approached by officials of the BSE in 2007 to design the sculpture. He was given photographs of the original sculpture in New York City and studied live bulls to understand their anatomy. A clay model was first designed for the BSE's approval following which the bronze version was made. It was made in four parts owing to its size and took Rampure three months to design and build. While he was allowed to make a few changes to the design, the original pose of the bull was retained owing to the animal's identity in stock markets as a symbol of money. The BSE later commissioned him to create a thousand miniature replicas made of fibre to be given as souvenirs to visiting foreign dignitaries.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: In Big Bull, India, how is the Design discussed?

Rampure was approached by officials of the BSE in 2007 to design the sculpture. He was given photographs of the original sculpture in New York City and studied live bulls to understand their anatomy. A clay model was first designed for the BSE's approval following which the bronze version was made. It was made in four parts owing to its size and took Rampure three months to design and build. While he was allowed to make a few changes to the design, the original pose of the bull was retained owing to the animal's identity in stock markets as a symbol of money. The BSE later commissioned him to create a thousand miniature replicas made of fibre to be given as souvenirs to visiting foreign dignitaries.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: Focus on Big Bull, India and explain the Controversy.

The sculpture came into news after the stock market crash of January 2008, when the Sensex lost 14% in two days and ₹180,000 crore (equivalent to ₹5.0 trillion or US$60 billion in 2023) in a week, along its year-long descent from 20,000 to 8,000. The bull was subsequently considered as a panvati or bad omen. Several brokers demanded the removal of the sculpture during the crash, with an astrologer suggesting that it be re-installed at a more auspicious time. A group of 200 to 300 brokers protested outside the exchange for a day asking for it to be removed.In 2017, prior to its relocation to GIFT City, the BSE decided to allow visitors to photograph the bull. However, due to security issues, it was replaced by an acrylic replica on rollers outside the exchange. The Municipal Corporation of Greater Mumbai (MCGM) objected to this, claiming that it was inconveniencing people on the road and asked for it to be removed.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: Explain the Controversy of this artwork, Big Bull, India.

The sculpture came into news after the stock market crash of January 2008, when the Sensex lost 14% in two days and ₹180,000 crore (equivalent to ₹5.0 trillion or US$60 billion in 2023) in a week, along its year-long descent from 20,000 to 8,000. The bull was subsequently considered as a panvati or bad omen. Several brokers demanded the removal of the sculpture during the crash, with an astrologer suggesting that it be re-installed at a more auspicious time. A group of 200 to 300 brokers protested outside the exchange for a day asking for it to be removed.In 2017, prior to its relocation to GIFT City, the BSE decided to allow visitors to photograph the bull. However, due to security issues, it was replaced by an acrylic replica on rollers outside the exchange. The Municipal Corporation of Greater Mumbai (MCGM) objected to this, claiming that it was inconveniencing people on the road and asked for it to be removed.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: How does Big Bull, India explain its Controversy?

The sculpture came into news after the stock market crash of January 2008, when the Sensex lost 14% in two days and ₹180,000 crore (equivalent to ₹5.0 trillion or US$60 billion in 2023) in a week, along its year-long descent from 20,000 to 8,000. The bull was subsequently considered as a panvati or bad omen. Several brokers demanded the removal of the sculpture during the crash, with an astrologer suggesting that it be re-installed at a more auspicious time. A group of 200 to 300 brokers protested outside the exchange for a day asking for it to be removed.In 2017, prior to its relocation to GIFT City, the BSE decided to allow visitors to photograph the bull. However, due to security issues, it was replaced by an acrylic replica on rollers outside the exchange. The Municipal Corporation of Greater Mumbai (MCGM) objected to this, claiming that it was inconveniencing people on the road and asked for it to be removed.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Big Bull, India

Prompt: In Big Bull, India, how is the Controversy discussed?

The sculpture came into news after the stock market crash of January 2008, when the Sensex lost 14% in two days and ₹180,000 crore (equivalent to ₹5.0 trillion or US$60 billion in 2023) in a week, along its year-long descent from 20,000 to 8,000. The bull was subsequently considered as a panvati or bad omen. Several brokers demanded the removal of the sculpture during the crash, with an astrologer suggesting that it be re-installed at a more auspicious time. A group of 200 to 300 brokers protested outside the exchange for a day asking for it to be removed.In 2017, prior to its relocation to GIFT City, the BSE decided to allow visitors to photograph the bull. However, due to security issues, it was replaced by an acrylic replica on rollers outside the exchange. The Municipal Corporation of Greater Mumbai (MCGM) objected to this, claiming that it was inconveniencing people on the road and asked for it to be removed.

Category:2008 establishments in Maharashtra

Stock market crashes in India#Crashes of 2008


Ulysses Deriding Polyphemus

Prompt: Focus on Ulysses Deriding Polyphemus and explain the abstract.

Ulysses Deriding Polyphemus is an 1829 oil painting by Joseph Mallord William Turner. It depicts a scene from Homer's Odyssey, showing Odysseus (Ulysses) standing on his ship deriding Polyphemus, one of the cyclopes he encounters and has recently blinded, who is disguised behind one of the mountains on the left side. Additional details include the Trojan Horse, a scene from Virgil's Aeneid, on one of the flags and the horses of Apollo rising above the horizon. This painting is thought to be quickly done as a replacement for previous paintings submitted to the Academy that had been delayed. The painting was exhibited at the Royal Academy of Arts in 1829 and acquired by the National Gallery in 1856.

Category:Paintings in the National Gallery, London


Ulysses Deriding Polyphemus

Prompt: Explain the abstract of this artwork, Ulysses Deriding Polyphemus.

Ulysses Deriding Polyphemus is an 1829 oil painting by Joseph Mallord William Turner. It depicts a scene from Homer's Odyssey, showing Odysseus (Ulysses) standing on his ship deriding Polyphemus, one of the cyclopes he encounters and has recently blinded, who is disguised behind one of the mountains on the left side. Additional details include the Trojan Horse, a scene from Virgil's Aeneid, on one of the flags and the horses of Apollo rising above the horizon. This painting is thought to be quickly done as a replacement for previous paintings submitted to the Academy that had been delayed. The painting was exhibited at the Royal Academy of Arts in 1829 and acquired by the National Gallery in 1856.

Category:Paintings in the National Gallery, London


Ulysses Deriding Polyphemus

Prompt: How does Ulysses Deriding Polyphemus explain its abstract?

Ulysses Deriding Polyphemus is an 1829 oil painting by Joseph Mallord William Turner. It depicts a scene from Homer's Odyssey, showing Odysseus (Ulysses) standing on his ship deriding Polyphemus, one of the cyclopes he encounters and has recently blinded, who is disguised behind one of the mountains on the left side. Additional details include the Trojan Horse, a scene from Virgil's Aeneid, on one of the flags and the horses of Apollo rising above the horizon. This painting is thought to be quickly done as a replacement for previous paintings submitted to the Academy that had been delayed. The painting was exhibited at the Royal Academy of Arts in 1829 and acquired by the National Gallery in 1856.

Category:Paintings in the National Gallery, London


Ulysses Deriding Polyphemus

Prompt: In Ulysses Deriding Polyphemus, how is the abstract discussed?

Ulysses Deriding Polyphemus is an 1829 oil painting by Joseph Mallord William Turner. It depicts a scene from Homer's Odyssey, showing Odysseus (Ulysses) standing on his ship deriding Polyphemus, one of the cyclopes he encounters and has recently blinded, who is disguised behind one of the mountains on the left side. Additional details include the Trojan Horse, a scene from Virgil's Aeneid, on one of the flags and the horses of Apollo rising above the horizon. This painting is thought to be quickly done as a replacement for previous paintings submitted to the Academy that had been delayed. The painting was exhibited at the Royal Academy of Arts in 1829 and acquired by the National Gallery in 1856.

Category:Paintings in the National Gallery, London


Statue of Metallurgist Anosov, Zlatoust

Prompt: Focus on Statue of Metallurgist Anosov, Zlatoust and explain the abstract.

The Statue of Metallurgist Anosov in Zlatoust city is situated on the main square of the historical center of Zlatoust, Chelyabinsk Oblast in Russia.The statue was erected in honor of Russian General-Major, metallurgist and governor of the Ural District, Anosov Pavel Petrovich, and unveiled on 19 December 1954.  It was created by Moscow sculptors A.P. Antropov, N.L. Shtamm, and architect T.L. Shulgina.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: Explain the abstract of this artwork, Statue of Metallurgist Anosov, Zlatoust.

The Statue of Metallurgist Anosov in Zlatoust city is situated on the main square of the historical center of Zlatoust, Chelyabinsk Oblast in Russia.The statue was erected in honor of Russian General-Major, metallurgist and governor of the Ural District, Anosov Pavel Petrovich, and unveiled on 19 December 1954.  It was created by Moscow sculptors A.P. Antropov, N.L. Shtamm, and architect T.L. Shulgina.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: How does Statue of Metallurgist Anosov, Zlatoust explain its abstract?

The Statue of Metallurgist Anosov in Zlatoust city is situated on the main square of the historical center of Zlatoust, Chelyabinsk Oblast in Russia.The statue was erected in honor of Russian General-Major, metallurgist and governor of the Ural District, Anosov Pavel Petrovich, and unveiled on 19 December 1954.  It was created by Moscow sculptors A.P. Antropov, N.L. Shtamm, and architect T.L. Shulgina.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: In Statue of Metallurgist Anosov, Zlatoust, how is the abstract discussed?

The Statue of Metallurgist Anosov in Zlatoust city is situated on the main square of the historical center of Zlatoust, Chelyabinsk Oblast in Russia.The statue was erected in honor of Russian General-Major, metallurgist and governor of the Ural District, Anosov Pavel Petrovich, and unveiled on 19 December 1954.  It was created by Moscow sculptors A.P. Antropov, N.L. Shtamm, and architect T.L. Shulgina.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: Focus on Statue of Metallurgist Anosov, Zlatoust and explain the Description.

The bronze statue is mounted on a massive pedestal of red Ukrainian granite, and is 9.5 m (31 ft) high, the statue itself being 4.6 m (15 ft).Anosov Pavel Petrovich is depicted standing in the uniform of a general-major of the Mining Corps, with a curved strip of Damascus steel held between his hands. A microscope is placed on the post on the left of the statue, on the same tall pedestal. The pedestal is a cylindrical shape, which rests on a square plinth. The inscription on the pedestal reads: "Great Russian metallurgist Pavel Petrovich Anosov 1797-1855"; his correct year of birth, 1799, was later installed on the pedestal in 1999.His date of birth was long a subject of controversy among researchers. Only two centuries later was the exact date established according to documentary evidence - 29 June 1796, leading to the involuntary error on the inscription.The Statue of the Metallurgist is a "twin" to the Statue of Yuriy Dolgorukiy in Moscow which was erected in 1954.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: Explain the Description of this artwork, Statue of Metallurgist Anosov, Zlatoust.

The bronze statue is mounted on a massive pedestal of red Ukrainian granite, and is 9.5 m (31 ft) high, the statue itself being 4.6 m (15 ft).Anosov Pavel Petrovich is depicted standing in the uniform of a general-major of the Mining Corps, with a curved strip of Damascus steel held between his hands. A microscope is placed on the post on the left of the statue, on the same tall pedestal. The pedestal is a cylindrical shape, which rests on a square plinth. The inscription on the pedestal reads: "Great Russian metallurgist Pavel Petrovich Anosov 1797-1855"; his correct year of birth, 1799, was later installed on the pedestal in 1999.His date of birth was long a subject of controversy among researchers. Only two centuries later was the exact date established according to documentary evidence - 29 June 1796, leading to the involuntary error on the inscription.The Statue of the Metallurgist is a "twin" to the Statue of Yuriy Dolgorukiy in Moscow which was erected in 1954.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: How does Statue of Metallurgist Anosov, Zlatoust explain its Description?

The bronze statue is mounted on a massive pedestal of red Ukrainian granite, and is 9.5 m (31 ft) high, the statue itself being 4.6 m (15 ft).Anosov Pavel Petrovich is depicted standing in the uniform of a general-major of the Mining Corps, with a curved strip of Damascus steel held between his hands. A microscope is placed on the post on the left of the statue, on the same tall pedestal. The pedestal is a cylindrical shape, which rests on a square plinth. The inscription on the pedestal reads: "Great Russian metallurgist Pavel Petrovich Anosov 1797-1855"; his correct year of birth, 1799, was later installed on the pedestal in 1999.His date of birth was long a subject of controversy among researchers. Only two centuries later was the exact date established according to documentary evidence - 29 June 1796, leading to the involuntary error on the inscription.The Statue of the Metallurgist is a "twin" to the Statue of Yuriy Dolgorukiy in Moscow which was erected in 1954.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast


Statue of Metallurgist Anosov, Zlatoust

Prompt: In Statue of Metallurgist Anosov, Zlatoust, how is the Description discussed?

The bronze statue is mounted on a massive pedestal of red Ukrainian granite, and is 9.5 m (31 ft) high, the statue itself being 4.6 m (15 ft).Anosov Pavel Petrovich is depicted standing in the uniform of a general-major of the Mining Corps, with a curved strip of Damascus steel held between his hands. A microscope is placed on the post on the left of the statue, on the same tall pedestal. The pedestal is a cylindrical shape, which rests on a square plinth. The inscription on the pedestal reads: "Great Russian metallurgist Pavel Petrovich Anosov 1797-1855"; his correct year of birth, 1799, was later installed on the pedestal in 1999.His date of birth was long a subject of controversy among researchers. Only two centuries later was the exact date established according to documentary evidence - 29 June 1796, leading to the involuntary error on the inscription.The Statue of the Metallurgist is a "twin" to the Statue of Yuriy Dolgorukiy in Moscow which was erected in 1954.

Council of Ministers of the Soviet Union

File:Памятник металлургу Аносову П.П..JPG

:ru:Уральский военный округ

Category:Objects of cultural heritage of Russia of federal significance

Statue of Metallurgist Anosov on the Third International Square in [[Zlatoust

Category:Buildings and structures in Chelyabinsk Oblast

Category:Monuments and memorials in Russia

Category:Cultural heritage monuments in Chelyabinsk Oblast