While we’re not too far from the topic of museums, I suggest taking a step toward the classics. The New Tretyakov Gallery is hosting an exhibition of Karl Bryullov. Even if, like me, you’re reserved about academic portraiture, I can’t help but recommend this exhibition. There are several reasons why.
First, this is the last exhibition of the 2025 season: the building on Krymsky Val is finally heading for a well-deserved renovation. But the main highlight is the bold visual experiment undertaken by the exhibition’s curators. The entire display is immersed in deep, dark graphite, almost black tones, against which Bryullov’s paintings seem to glow. This effect is enhanced by the intricate golden ornaments of the frames, which I usually crop out in exhibition posts.
Here’s an observation from Gork Studio’s project presentation experience: if the goal is to sell a product, use a white background; if the goal is to convey the essence of your creativity, use black.
Second, the lighting. It’s set up perfectly, adding volume to the exhibition while eliminating glare from protective glass and the texture of the paint itself. It’s a rare pleasure to photograph material and study works in such an atmosphere.
P. S. Bryullov left behind a wealth of sketch-like studies, which I sometimes find more fascinating than his most famous works. Karl Pavlovich was a rebel, not only because he drew excellent caricatures but also because, as an experienced master, he knew when to stop refining a painting. It doesn’t matter if half the canvas is academic painting and the other half a graphic sketch. The character comes to life, and what more is needed?