Abstract
In 1834 Karl Briullov’s painting The Last Day of Pompeii became the first work of Russian art to attract international attention, earning a first-class medal at the Paris Salon after a laudatory response in Rome and Milan. Its European success made it the most significant Russian painting of the period. Despite its official recognition, its reception in the French press was largely, though not entirely, negative. The painting’s complex reception stemmed from a reassessment of history painting, French perceptions of Italy and Russia during the July Monarchy, and misinformation about Briullov himself.
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