The planned restoration of The Last Day of Pompeii, a cornerstone work by Karl Bryullov, is moving ahead under the auspices of the State Russian Museum to mark a renewed chapter in the artist’s legacy. Reports citing the museum’s chief curator, Olga Babina, confirm the initiative as part of commemorative programming tied to Bryullov’s enduring influence on Russian art.
In time for what would be the 225th anniversary of Bryullov’s birth in 2024, the museum intends to reopen the painting by carefully lifting away layers of aged varnish. The restoration team stresses that the process is technically straightforward, focusing on removing centuries of varnish to reveal Bryullov’s original brushwork and the painting’s authentic painterly magic, as it existed in the author’s own layer. This approach aims to preserve the work’s true color ambitions and tactile texture while staying faithful to the artist’s intentions.
Conservators will balance aesthetic restoration with perceptual authenticity. They plan to prevent the surface from appearing overly glossy, ensuring that the finished piece communicates Bryullov’s vision with the same atmosphere that viewers experienced when the canvas first emerged from the studio. Babina emphasized the overarching goal: by 2024, the work would be returned in a newly refined state that mirrors the author’s concept and invites modern audiences to engage with it as if encountered in Bryullov’s era.
During the restoration period, the painting will be relocated for a citywide examination of its historical and artistic context. A major Bryullov exhibition is scheduled at the Mikhailovsky Castle, with the work temporarily transitioning from the Mikhailovsky Palace to accommodate a broader curatorial program that highlights the painter’s career and the cultural milieu of his time.
Karl Bryullov, born in 1799 and passing in 1852, created The Last Day of Pompeii in 1833 after visiting Pompeii and Herculaneum, the ancient cities preserved beneath layers of volcanic ash. The painting captures dramatic scenes of catastrophe and human drama, blending neoclassical composition with Romantic intensity and a keen eye for historical detail that has made it a centerpiece of the Russian collection.
In related news, the museum previously announced the successful restoration and reintroduction of Makovsky’s Shrovetide, which has returned to the Russian Museum after undergoing conservation work in a separate program. These efforts reflect a broader commitment to renewing iconic works while preserving their integrity for future generations.