
Porträt des Michael Andreevich Obolensky
Karl Bryullov·1846
Historical Context
This portrait of Michael Andreevich Obolensky, painted around 1846, represents Bryullov's late portraiture during a period when his health was seriously declining. Prince Obolensky was a member of one of Russia's oldest and most prominent noble families, with branches occupying positions in the military, the Orthodox church, and the imperial administration. A portrait commission from such a sitter carried significant prestige. By 1846 Bryullov was experiencing the heart disease that would force his departure from Russia two years later, yet he continued to accept commissions and teach at the Academy. This portrait likely served an official or family documentary function, recording an important individual for posterity. The present location is not definitively recorded, suggesting private ownership. The title is recorded in German ('Porträt'), indicating provenance through German-speaking territories at some point in the work's history.
Technical Analysis
Bryullov's late portrait style shows some concession to speed while retaining the essential quality of his facial modeling. The three-quarter format and dark background are standard. Military or court dress, if present, would be rendered with attention to rank insignia and decorations that serve an official documentary function alongside the aesthetic one.
Look Closer
- ◆The German title 'Porträt' suggests the painting passed through German-speaking European ownership at some point.
- ◆The dignified bearing and direct gaze reflect the conventions of male aristocratic portraiture in mid-nineteenth-century Russia.
- ◆Bryullov's late style shows slightly looser handling than his peak years, a product of declining health rather than declining skill.
- ◆The dark neutral background, used throughout Bryullov's career, remains his consistent choice for male portrait subjects.







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