Aivazovsky's paintings in good quality. Ivan Constantinovich Aivazovski

And Van Konstantinovich Aivazovsky is one of the most prolific Russian marine painters. Over more than 60 years of creativity, he painted over 6,000 canvases. Contemporaries were surprised at how quickly the Master created his masterpieces. The artist’s painting techniques, execution technique, selection of colors, masterly effects of transparent waves and the breath of the sea were also beyond understanding.

The artist Ivan Kramskoy wrote to Pavel Tretyakov: “Aivazovsky probably has the secret of composing paints, and even the paints themselves are secret; I have never seen such bright and pure tones even on the shelves of mosquito stores.” Aivazovsky’s main secret was not a secret: in order to paint the sea so believably, you need to be born and live a long life near the seashore.

Let's add a few more ingredients to this fact - hard work, talent, impeccable memory and rich imagination - this is how Aivazovsky's famous paintings were born. That's the whole secret of genius.

The artist painted rapidly and a lot - about 100 paintings a year. And his entire legacy has been recognized by collectors as one of the “strongest”. The artist’s canvases seem to be timeless, always in excellent condition, crack the least and are extremely rarely subject to restoration.

Columbus sailing through Cape Palos. 1892. Private collection

The main secret is in the technique of applying paints. Aivazovsky preferred oil, although his sea and waves appear to be watercolors. His favorite technique was considered glaze, based on applying thin (almost transparent) paints on top of each other. As a result, the waves, clouds and sea on the canvases seemed transparent and alive, and the integrity of the paint layer was not violated or destroyed.

Aivazovsky's genius was recognized by the most outstanding people of Russia and the world. He met and was friends with Pushkin, Krylov, Gogol, Zhukovsky, Bryullov, Glinka. He was received in the palaces of kings and nobles, the Pope himself gave him an audience and awarded him a gold medal for the painting “Chaos. World creation". The Pontiff wanted to purchase the masterpiece he liked, but Aivazovsky simply gave it as a gift.

Pope Gregory XVI took the painting to the Vatican Museum. Now it is located in Venice, on the island of St. Lazarus. The fact is that at the beginning of the 20th century, Pope Leon XIII donated the painting to the Museum of the Armenian Mekhitarist Congregation. Perhaps one of the reasons was that the artist’s elder brother Gabriel lived here on the island of St. Lazarus. He occupied a prominent position in the religious fraternity. In the artist’s life, this place was sacred, reminiscent of “little Armenia” near Venice.

All of Europe admired Aivazovsky's works - an academician and an honorary member of the Imperial Academy of Arts, he was also elected an honorary member of the Academies of Arts in Amsterdam, Rome, Paris, Florence and Stuttgart.

Ivan Kramskoy wrote: “...Aivazovsky, no matter what anyone says, is a star of the first magnitude, in any case; and not only here, but in the history of art in general...” Emperor Nicholas I declared: “Whatever Aivazovsky writes will be bought by me.” It was with an easy suggestion that Emperor Aivazovsky was secretly called the “king of the sea.”

All his long and happy life- a treasure trove of magical stories and facts - incredibly interesting and colorful. The artist participated in more than 120 exhibitions both in Russia, Europe and America. Over 60 of them were personal! At that time, among Russian artists, only the romantic marine painter Aivazovsky could afford a personal exhibition.

You may already know that Aivazovsky's works Not only the most sold, and at the same time the most stolen and counterfeited in the world .

It is possible to verify the authenticity of Aivazovsky’s paintings, but this is an extremely costly procedure, both in time and money. As a result, half of the things passed off on the market as paintings by Aivazovsky are fakes, but they are so successful that people still buy them, but at a higher price. low prices. Moreover, the number of fakes significantly exceeds the number of originals. The master himself admitted to having written 6,000 works throughout his life, but today more than 50,000 works are considered originals!

Aivazovsky did not paint from life. He drew most of his paintings from memory. Sometimes it was enough for an artist to hear interesting story, and after a moment he took up the brush. The artist did not need much time to create a masterpiece; sometimes one session was enough... “I can’t write quietly, I can’t pore for months. I don’t leave the picture until I speak out.” “, admitted Ivan Konstantinovich. His longest work was the painting “Among the Waves.” 10 days - that’s exactly how long it took the artist, who was 81 years old at that time, to create his largest painting.

It is reliably known that the plot of the picture was originally different. This became known from the words of Aivazovsky’s grandson Konstantin Konstantinovich Artseulov:

The painting “Among the Waves” was created two days before his death. It is almost 4.5 m long and about 3 m wide.

All these short facts quite common, but there are others - little-known ones, revealing the image of the artist and his work from a variety of angles.

So 5 little known facts from the life of the artist (to the 200th anniversary of the birth of I.K. Aivazovsky)

The incident in the workshop of A.I. Kuindzhi.

Once the artist A.I. Kuindzhi invited Aivazovsky to his academic workshop in order to demonstrate to his students the skill and technique of performance, which was known only to Aivazovsky.

Soviet landscape painter A. A. Rylov recalled this: “Arkhip Ivanovich led the guest to the easel and turned to Aivazovsky: “This is it... Ivan Konstantinovich, show them how to paint the sea.”

Aivazovsky named the four or five colors he needed, examined the brushes, touched the canvas, standing, without leaving the easel, playing with the brush like a virtuoso, he painted a sea storm. At Arkhip Ivanovich’s request, he instantly depicted a ship rocking on the waves, and with amazing dexterity, with a habitual movement of the brush, he gave it full rigging. The painting is ready and signed. One hour and fifty minutes ago there was a blank canvas, now the sea is raging on it. We expressed our gratitude to the venerable artist with noisy applause and escorted him to the carriage with the entire workshop.”

At that time the artist was 80 years old.

Aivazovsky's favorite cities

It’s amazing how strongly the passion for traveling around the world and love for his homeland were intertwined in this man. Where has he been? Customs officers pasted additional pages into his passport. In his foreign passport there were 135 visa marks. He visited the most beautiful countries and cities on the planet, but he treated only two cities with awe and admiration - Constantinople and its little Feodosia, to which he was devoted until the end of his life. “My address is always in Feodosia,” he shared with Pavel Tretyakov.

Feodosia was an outlet, a historical homeland, a place of birth, an irreplaceable hearth and home. Constantinople was a favorite refuge during travel. Of all the cities, he glorified only it - the wondrous city on the Bosphorus.

For the first time in the capital Ottoman Empire he visited in 1845. Since then he has returned here again and again. The exact number of paintings dedicated to views of Constantinople remains unknown. The estimated number is about 100.

One day, the Turkish Sultan Abdul-Aziz was given one of Aivazovsky’s paintings. The Sultan was completely delighted and ordered the artist a series of views of the Bosphorus. Aivazovsky believed that in this way he could help establish mutual understanding between the Turks and Armenians, and accepted the order. He painted about 40 paintings for the Sultan . Abdul-Aziz was so pleased with Aivazovsky’s work that he awarded him the highest Turkish order, Osmaniye.

Subsequently, Aivazovsky received several more orders from the hands of the Turkish ruler. And in 1878, a peace agreement between Russia and Turkey (the so-called Peace of San Stefano) was signed in a hall decorated with paintings by Aivazovsky.

However, when Sultan Abdul Hamid carried out pogroms in the 1890s, which killed hundreds of thousands of Armenians, the indignant Aivazovsky hastened to get rid of all Ottoman awards.

Having attached all the Turkish orders to the collar of the yard dog, he walked through the streets of Feodosia. They say that the whole city joined the procession. Surrounded by a huge crowd, Aivazovsky headed towards the sea. Soon he climbed into the boat, and, moving a sufficient distance from the shore, raised the shining orders above his head and threw them into the sea.

Later, he met with the Turkish consul and said that his “bloody overlord” could do the same with his paintings, and the artist would not regret it.

Frustrated by the aggressive policies of the Turks, Aivazovsky painted several paintings in support of the Armenians, depicting the brutal crimes of the Turks against his people. They have repeatedly exhibited at the most prestigious exhibitions in Europe. He directed all the proceeds from the sale of paintings to help Armenian refugees. Ivan Konstantinovich did not expect help from the government or city administration; he met refugees at the entrance to Feodosia and invited them to settle on his land, providing them with money for the first time.

“It’s a shame to turn away from your people, especially so small and oppressed,” said Ivan Konstantinovich.

"Father of the City" Ivan Aivazovsky and Feodosia

Aivazovsky was the first honorary person of Feodosia. All his life he was actively involved in its improvement and contributed to the prosperity of the city. His influence on Feodosian life was enormous. The artist opened an art school in Feodosia, turning Feodosia into one of the centers of pictorial culture in the south of Russia. On his initiative, a city concert hall and library were built.

At his expense, a parish school was created and maintained.

Aivazovsky also took part in the construction of a new building for the Feodosia Men's Gymnasium, whose students different time there were poet and translator Maximilian Voloshin, Marina Tsvetaeva’s husband - publicist Sergei Efron, Alexander Peshkovsky - Russian and Soviet linguist, professor, one of the pioneers of the study of Russian syntax. Aivazovsky was a trustee of this gymnasium, allocated scholarships and paid for the education of needy students. The gymnasium existed until 1918.

He also ensured that a railway was built in the city. His painting “The First Train to Feodosia” was created even before the construction of the railway, that is, from his imagination.

I always remember my late friend, who more than once told me: “What is your desire, Ivan Konstantinovich, to seek a railway for Feodosia, it will only pollute the shore and obscure the wonderful view of the bay from your house.” Indeed, if I cared about myself personally, then I should have resisted with all my might the construction of the Feodosia railway. My estate is located near Feodosia and far from the planned railway line, the services of which I therefore will not have to use. The only house that belongs to me in Feodosia, in which I live, with the construction of the railway along the seashore, may become uninhabited and, in any case, will lose the character of a cozy corner for me. Those for public good they know how to sacrifice their personal interests, they will easily understand what motives I am guided by in defending Feodosia ... "

All important buildings in Feodosia were secretly under the supervision of Aivazovsky. A typical incident from the artist’s life was described in his memoirs by Yuri Galabutsky:

“You’re ruining my street!”

“One winter, Aivazovsky, as usual, went to St. Petersburg for some time. When returning, as usual, two or three stations from Feodosia, he was met by those closest to him and immediately informed of all the city news that I.K. listened with lively curiosity. And he finds out that the man in the street, N., is building a house on the main street, Italianskaya; construction has already begun in I.K.’s absence, and the house will be one-story. I.K. I was terribly worried: a one-story house on the main street! Immediately upon arrival, without having time to rest from the road, he calls the man in the street N. He, of course, immediately appears. “Are you building a one-story house? Shame on you? You are a rich man, what are you doing? You’re ruining my street!” . And the average man N. obediently changes the plan and builds a two-story house.”

Thanks to him, the port was completely redone, expanding it and making it modern and convenient for ships. The port in Feodosia has long been considered the largest commercial port in Crimea.

With his own money, Aivazovsky built the building of the Archaeological Museum (the museum building was blown up by Soviet troops retreating from Crimea in 1941) and donated a theater to his hometown, or rather, it was a stage in his art gallery.

In the early 1890s, Aivazovsky, according to his own design and with personal funds, erected a fountain in memory of the mayor of Feodosia A.I. Kaznacheev (in the 1940s the fountain was lost).

In 1886, Feodosia experienced a severe water shortage.

“Not being able to continue to remain a witness to the terrible disaster that the population of my native city experiences from lack of water from year to year, I give him 50 thousand buckets a day for eternal ownership clean water from the Subashsky source that belongs to me,” Ivan Aivazovsky wrote in his address to the City Duma in 1887.

The Subash source was located on the estate of the artist Shah-Mamai, not far from Old Crimea, 25 versts from Feodosia. In 1887, work began on laying a water pipeline, thanks to which water came to the city. In the park near the embankment, according to the artist’s design, a fountain was built, from which local residents received water for free. In one of his letters, Aivazovsky wrote:

“The fountain in the oriental style is so good that neither in Constantinople nor anywhere else do I know such a good one, especially in proportions.”

The fountain appeared an exact copy fountain in Constantinople. Now the fountain bears the name of Aivazovsky.

In 1880, Aivazovsky opened an exhibition hall in his house (the famous Feodosia Art Gallery), which the artist bequeathed to his hometown.

My sincere desire is that the building of my art gallery in the city of Feodosia, with all the paintings, statues and other works of art located in this gallery, constitute the full property of the city of Feodosia, and in memory of me, Aivazovsky, I bequeath the gallery to the city of Feodosia, my hometown."

Some sources claim that the artist also bequeathed payment for visiting his gallery to the Feodosian poor.

Until the end of his days, he worked for scholarships and pensions for the residents of his city, so the news of the artist’s death was perceived as a personal grief for thousands of Feodosians, for whom Aivazovsky was a family member - after all, he baptized many children and married hundreds of neighbor girls who glorified the artist, remembering his mercies.

The realization that the “father of the city,” a citizen, patriot, philanthropist, who had no equal in the history of Feodosia, had passed away came a little later. All the shops were closed that day. The city was plunged into severe mourning.

For three days, the Feodosian churches mourned the departure of Ivan Konstantinovich with the ringing of bells. Big hall The picture gallery was filled with many funeral wreaths. Three days in art gallery people came to honor the memory of Aivazovsky. Delegations arrived in Feodosia, including from the Armenian diaspora.

The funeral procession stretched from Aivazovsky's house to the medieval Armenian church of St. Sarkis, in whose fence the burial took place. The choice of burial place was not accidental - it was bequeathed by the artist himself, because it was in this church that he was baptized, and the artist’s frescoes were preserved here.

Lamps on nearby streets were covered with mourning veils. And the road itself was strewn with flowers.

The local garrison took part in the funeral, giving military honors to the deceased - an exceptional fact at that time. Later, an inscription in Armenian will appear on his grave: “Born mortal, he left behind an immortal memory.”

“I was a friend of Pushkin, but I didn’t read Pushkin”

The first and only meeting of the artist with the Great Poet of Russia took place in 1836. The artist at that time was only 19 years old. Ivan Konstantinovich recalled this meeting years later:

“...In 1836, three months before his death, precisely in September, Pushkin came to the Academy of Arts with his wife Natalia Nikolaevna, to our September exhibition of paintings. Having learned that Pushkin was at the exhibition and went to the Antique Gallery, we, the students, ran there and surrounded our beloved poet in a crowd. He stood arm in arm with his wife in front of a painting by the artist Lebedev, a gifted landscape painter, and looked at and admired it for a long time. Our inspector of the academy, Krutov, who accompanied me... when he saw me, took me by the hand and introduced me to Pushkin as someone who was then receiving a gold medal (I was graduating from the academy that year).

Pushkin greeted me very kindly and asked me where my paintings were... Having learned that I was a Crimean native, Pushkin asked: “What city are you from?” Then he became interested in how long I had been here and whether I was sick in the north... Since then, my already beloved poet became the subject of my thoughts, inspiration and long conversations and questions about him..."

In February 1837, Pushkin died. For young artist, who was compared at the Academy to the brilliant Pushkin, this tragic event was catastrophic. After all, they have so much in common - a circle of friends, interests, both sang of nature, Crimea. It seemed that there were so many interesting meetings with Pushkin himself ahead...

Aivazovsky’s first experiences were reflected in the film “Seashore at Night.” The artist painted it near Kronstadt. A young man on the shore, stretching his arms forward, welcoming the approach of the storm - This is Aivazovsky’s first tribute to the memory of Pushkin. Later he would dedicate about twenty more paintings and drawings to the poet. But only a few will be the most famous.

A.S. Pushkin in Crimea near the Gurzuf rocks. 1880

Pushkin on the Black Sea coast. 1887.

A.S. Pushkin on top of Ai-Petri at sunrise. 1899

A.S. Pushkin on the Black Sea coast. 1897

Farewell A.S. Pushkin with the sea. 1877

The picture was performed together with I.E. Repin. Repin painted Pushkin, the landscape was done by Aivazovsky. The painting is dedicated to the 50th anniversary of the poet’s death. The plot was taken from Pushkin's poem - "To sea". As is known from Odessa, Pushkin was sent to a new place of exile in 1824 - to the village of Mikhailovskoye. The painting depicts the moment of the disgraced poet’s farewell to the sea.

Goodbye sea! I won't forget
Your solemn beauty
And I will hear for a long, long time
Your hum in the evening hours.
In the forests, in the deserts are silent
I’ll bear it, I’m full of you,
Your rocks, your bays,
And the shine, and the shadow, and the sound of the waves.

In 1847, on the tenth anniversary of Pushkin’s death, Aivazovsky gave his widow his painting “Moonlit night by the seaside. Constantinople."

Despite his good memory of Pushkin, Aivazovsky did not read him. In general, Ivan Konstantinovich was absolutely indifferent to reading. This is known from the words of another genius - A.P. Chekhov:

“July 22, Feodosia. 1888. Yesterday I went to Shakh-Mamai, Aivazovsky’s estate, 25 miles from Feodosia. The estate is luxurious, somewhat fabulous; such estates can probably be seen in Persia. Aivazovsky himself, a cheerful old man of about 75, is a cross between a good-natured Armenian and a jaded bishop; full of dignity, has soft hands and presents them like a general. Not far off, but his nature is complex and worthy of attention.

In himself alone he combines a general, a bishop, an artist, an Armenian, a naive grandfather, and Othello. He is married to a young and very beautiful woman, whom he keeps close. I am familiar with the sultans, shahs and emirs. Together with Glinka he wrote “Ruslana and Lyudmila”. I was a friend of Pushkin, but I didn’t read Pushkin. He had never read a single book in his life. When he is asked to read, he says: “Why should I read if I have my own opinions?” I stayed with him all day and had lunch...

Eastern origin of the artist

On the Internet you can find many opinions regarding the origin of the artist. Russians call him a Russian artist, Armenians call him a Russian artist Armenian origin, and only, it seems, no one ever asked the opinion of the Turks. Although, I am sure that the Turks will stubbornly prove Aivazovsky’s eastern origin. And in some ways they will even be right.

The fact is that immediately after the artist’s death, in 1901, it was published book "Memories of Aivazovsky" , the author of which is a contemporary and devoted friend of I.K. Aivazovsky Nikolai Kuzmin. Already on its second page you can find a story about the origin of the artist:

“Turkish blood flowed in Aivazovsky’s veins, although for some reason we still considered him to be a blood Armenian, probably due to his constant sympathy for the unfortunate Armenians, which intensified after the Anatolian and Constantinople massacres, violence and robberies that horrified everyone, reaching its apogee, forcing him to secretly do good to the oppressed with a broad hand and loudly indignant at the inaction of Europe, which did not want to interfere in this massacre.

I.K. Aivazovsky himself once recalled about his origin, in the circle of his family, the following interesting and, therefore, completely reliable legend. The story given here was originally written down in his own words and is kept in family archives artist.

“I was born in the city of Feodosia in 1817, but the real homeland of my close ancestors, my father, was far from here, not from Russia. Who would have thought that war, this all-destroying scourge, contributed to the fact that my life was preserved and that I saw the light and was born precisely on the shore of my beloved Black Sea. And yet it was like that. In 1770, the Russian army, led by Rumyantsev, besieged Bendery. The fortress was taken, and the Russian soldiers, irritated by the stubborn resistance and the death of their comrades, scattered throughout the city and, heeding only the feeling of vengeance, did not spare either gender or age.

Among their victims was the secretary of the Bendery Pasha. Mortally struck by one Russian grenadier, he was bleeding, clutching in his hands a baby who was about to suffer the same fate. The Russian bayonet was already raised over the young Turk when one Armenian held back the punishing hand with an exclamation: “Stop! This is my son! He is a Christian! The noble lie served as a salvation, and the child was spared. This child was my father. The good Armenian did not end his good deed with this; he became the second father of a Muslim orphan, baptizing him under the name of Konstantin and giving him the surname Gaivazovsky, from the word Gayzov, which in Turkish means secretary.

Having lived for a long time with his benefactor in Galicia, Konstantin Aivazovsky finally settled in Feodosia, where he married a young southern beauty, also an Armenian, and at first began successful trading operations”...

The real name of the artist is Hovhannes Ayvazyan . The father of the future master, Konstantin (Gevorg), an Armenian by origin, after moving to Feodosia, wrote his surname in the Polish manner: “ Gaivazovsky" . Until the 40s, one could even see the signature “Guy” in the master’s paintings - an abbreviation of his surname. But in 1841, the artist finally changed his last name and officially became Ivan Konstantinovich Aivazovsky.

The most expensive painting by Ivan Aivazovsky:

"View of Constantinople and the Bosphorus Gulf" today is in private collection. In 2012, the painting was sold for £3.23 million.

The painting went to an unnamed buyer over the phone after intense bidding on the floor. Moreover, the final price was almost three times higher than the lower estimate - Sotheby’s experts estimated Aivazovsky at 1.2-1.8 million pounds.

Aivazovsky first visited Constantinople in 1845 as an official artist of the Russian Admiralty. The artist has repeatedly addressed the theme of this city; he has paintings with views of Hagia Sophia and the Golden Horn Bay, but most of them are not very big size. This work is a rather monumental canvas.

It is noteworthy that “the view of Constantinople and the Bosphorus Gulf, which depicts the busy life of the port with the Tophane Nusretiye Mosque, was restored by the artist from memory.

For the 200th anniversary of Ivan Aivazovsky, a wonderful online publication about art Arthive revived the paintings of the great marine painter. See for yourself what came of it:

Found a mistake? Select it and press left Ctrl+Enter.

Aivazovsky Ivan Konstantinovich, part 1 (1817 - 1900)

I.N. Kramskoy argued that Aivazovsky “is a star of the first magnitude, in any case, and not only here, but in the history of art in general.”
P.M. Tretyakov, wanting to buy a painting for his gallery, wrote to the artist: “...Give me your magic water, such that it would fully convey your incomparable talent.”
In painting, Aivazovsky was, first of all, a poet. The artist said about himself: “The plot of the painting is formed in my memory, like the plot of a poem by a poet, having made a sketch on a piece of paper, I begin to work and do not leave the canvas until I have expressed myself on it with my brush.”
Over his long life, he wrote up to 6,000 works. The best of them have entered the treasury of world culture. His paintings are in many galleries around the world

Portrait of the artist Ivan Konstantinovich Aivazovsky
1841
Oil on canvas 72 x 54.2

Moscow

Ivan (Hovhannes) Konstantinovich Aivazovsky was born on July 17 (30), 1817 in Feodosia. Aivazovsky's ancestors moved from Western (Turkish) Armenia to southern Poland in the 18th century. At the beginning of the 19th century, merchant Konstantin (Gevorg) Gaivazovsky moved from Poland to Feodosia. After the plague epidemic hit Feodosia in 1812, life was not easy for the Gaivazovsky family. Konstantin Hripsime’s wife, a skilled embroiderer, helped support the family, which included two daughters and three sons.

Aivazovsky received his primary education at an Armenian parish school, and then graduated from the Simferopol gymnasium, to which the city architect Koch helped place him. In 1833, with the assistance of the Feodosian mayor A. Kaznacheev, Aivazovsky went to St. Petersburg, and based on the children’s drawings presented, he was enrolled in the Academy of Arts in the landscape class of Professor M. N. Vorobyov. Then he studied in the battle class with A. Sauerweid and for a short time with the marine painter F. Tanner, invited from France.

Already in 1835, for “Study of Air over the Sea” he was awarded a silver medal of the second dignity. In 1837, for three marine species and in particular for the painting “Calm” he was awarded the First Gold Medal and the academic course was shortened by two years with the condition that during this time he painted landscapes of a number of Crimean cities. As a result of the trip to Crimea, views of Yalta, Feodosia, Sevastopol, Kerch and the paintings “Moonlit Night in Gurzuf” (1839), “Storm”, “Sea Shore” (1840) appeared.

Aivazovsky I.K. Moonlit night in Crimea. Gurzuf.
1839
Sumy Art Museum

"Coast"
1840
Canvas, oil. 42.8 x 61.5 cm
State Tretyakov Gallery

Windmill on the seashore"
1837
Oil on canvas 67 x 96

Saint Petersburg

Seashore at night
1837
47 x 66 cm
Canvas, oil
Romanticism, realism
Russia
Feodosia. Feodosia Art Gallery named after. I.K.

Kerch
1839

In 1839, Aivazovsky took part as an artist in a naval campaign to the shores of the Caucasus. On board the ship he meets M.P. Lazarev, V.A. Kornilov, P.S. Nakhimov, V.N. Istomin, and gets the opportunity to study the designs of warships. Creates the first battle painting - “Landing at Subashi”.

“Landing N.N. Raevsky at Subashi"
1839
Canvas, oil. 66 x 97 cm
Samara Art Museum
There he also met the Decembrists M. M. Naryshkin, A. I. Odoevsky, N. N. Lorer, demoted to the rank and file, who took part in the case under Subashi. The artist’s Crimean works were successfully exhibited at an exhibition at the Academy of Arts, and as an incentive, I.K. Aivazovsky was given a business trip to Italy.

"Naval Battle of Navarino (October 2, 1827)"
1846
Oil on canvas 222 x 234

Saint Petersburg

"Naval Battle of Vyborg June 29, 1790"
1846
Canvas, oil. 222 x 335 cm
Higher Naval Engineering School named after. F.E.Dzerzhinsky

"Naval Battle of Reval (9 May 1790)"
1846
Oil on canvas 222 x 335
Naval School named after. F. E. Dzerzhinsky
Saint Petersburg
Russia

In 1840, Aivazovsky went to Italy. There he meets prominent figures of Russian literature, art, and science - Gogol, Alexander Ivanov, Botkin, Panaev. At the same time, in 1841, the artist changed his last name Gaivazovsky to Aivazovsky.

Azure Grotto. Naples
1841
74 x 100 cm
Canvas, oil
Romanticism, realism
Russia
Donetsk. Donetsk Art Museum,

View of the Venetian Lagoon
1841 76x118

The artist’s activity in Rome begins with studying and copying the works of past masters; he works a lot on full-scale sketches. In one of his letters, Aivazovsky said: “I, like a bee, collect honey from a flower garden.” Throughout his life, he returned to the landscapes of Italy; the harmonious coexistence of man and sea in this country was imprinted in his memory as an example of beauty. Aivazovsky created about fifty large paintings in Italy. The artist’s success was brought to him by the romantic seascapes “Storm”, “Chaos”, “Bay of Naples on a Moonlit Night” (1839) and others. His painting “Chaos” was acquired by the Vatican Museum. Pope Gregory XVI awarded the artist a gold medal. The artist’s talent is recognized by art connoisseurs and colleagues. A. Ivanov notes Aivazovsky’s abilities in depicting the sea, engraver F. Jordan claims that Aivazovsky is the pioneer of the genre of marine painting in Rome.

"Chaos. World creation"
1841
Oil on canvas 106 x 75
Museum of the Armenian Mekhitarist Congregation
Venice. Island of St. Lazarus

"Bay of Naples"
1841
Oil on canvas 73 x 108

View of Constantinople in the evening light
1846 120x189.5

"View of Constantinople by moonlight"
1846
Oil on canvas 124 x 192
State Russian Museum
Saint Petersburg
Russia

1850
Oil on canvas 121 x 190

Feodosia

"The Bay of Naples on a Moonlit Night"
1892
Oil on canvas 45 x 73
Collection of A. Shahinyan
NY

In 1843, the artist began his journey with an exhibition of paintings throughout Europe. “Rome, Naples, Venice, Paris, London, Amsterdam awarded me the most flattering encouragements,” recalled Aivazovsky. One of them is the title of academician awarded by the Amsterdam Academy of Fine Arts. As the only representative of Russian art, he participated in the international exhibition organized at the Louvre. Ten years later, he was the first foreign artist to become a Knight of the Legion of Honor.

"Shipwreck"
1843
Oil on canvas 116 x 189
Feodosia Art Gallery named after. I.K. Aivazovsky
Feodosia
Russia

In 1844, two years ahead of schedule, Aivazovsky returned to Russia. Upon returning to his homeland, the St. Petersburg Academy of Arts awarded him the title of academician. The Navy Department awarded him the honorary title of artist of the Main Naval Staff with the right to wear an admiralty uniform and assigned him “an extensive and complex order” - to paint all Russian military ports on the Baltic Sea. During the winter months of 1844 - 1845. Aivazovsky fulfilled the government order and created a number of other beautiful marinas.

"Russian squadron on the Sevastopol roadstead"
1846
Canvas, oil. 121 x 191 cm
State Russian Museum

In 1845, together with the expedition of F.P. Litke, Aivazovsky visited the coasts of Turkey and Asia Minor. During this voyage, he made a large number of pencil drawings, which served him for many years as material for creating paintings, which he always painted in the studio. Returning from the expedition, Aivazovsky leaves for Feodosia. “It's a feeling or a habit, it's second nature to me. “I willingly spend the winter in St. Petersburg,” the artist wrote, “but as soon as it blows in the spring, I am attacked by homesickness - I am drawn to the Crimea, to the Black Sea.”

View of Feodosia
1845
70 x 96 cm
Canvas, oil
Romanticism, realism
Russia
Yerevan. State Art Gallery of Armenia

Feodosia. Sunrise
1852 60x90

In Feodosia, the artist built a studio house on the seashore and finally settled here. In winter, he usually visited St. Petersburg and other Russian cities with his exhibitions, and sometimes traveled abroad. During his long life, Aivazovsky made a number of trips: he visited Italy, Paris and other European cities several times, worked in the Caucasus, sailed to the shores of Asia Minor, was in Egypt, and at the end of his life, in 1898, he traveled to America. During his sea voyages, he enriched his observations, and drawings accumulated in his folders. The artist spoke about his creative method: “A person who is not gifted with a memory that preserves the impressions of living nature can be an excellent copyist, a living photographic apparatus, but never a true artist. The movements of living elements are elusive to the brush: painting lightning, a gust of wind, a splash of a wave is unthinkable from life. The plot of the picture is formed in my memory, like the plot of a poem by a poet...”

Meeting of fishermen on the shores of the Gulf of Naples 1842 58x85
"Fishermen's Meeting"
Canvas, oil. 58 x 85 cm
State Tretyakov Gallery

"Gondelier on the Sea at Night"
1843
Oil on canvas 73 x 112
State Museum of Fine Arts of the Republic of Tatarstan
Kazan
Russia

"Venetian Lagoon. View of the island of San Giorgio"
1844
Wood, oil. 22.5 x 34.5 cm
State Tretyakov Gallery

Mill on the seashore 1851 50x57

"Sunrise in Feodosia"
1855
Oil on canvas 82 x 117

Yerevan

"St. George's Monastery. Cape Fiolent"
1846
Oil on canvas 122.5 x 192.5
Feodosia Art Gallery named after. I.K. Aivazovsky
Feodosia

View of Odessa on a moonlit night
1846
122 x 190 cm
Canvas, oil
Romanticism, realism
Russia

"View of Odessa from the sea"
1865
Oil on canvas 45 x 58
State Art Gallery of Armenia
Yerevan

Aivazovsky's painting of the forties and fifties was marked by a strong influence romantic traditions K. P. Bryullov, which affected the artist’s painting skills. Like Bryullov, he strives to create grandiose colorful canvases. This was very clearly reflected in the battle painting “Battle of Chesme”, written by him in 1848, dedicated to the outstanding naval battle. The battle is depicted at night. In the depths of the bay, burning ships of the Turkish fleet are visible, one of them at the moment of the explosion. Covered in fire and smoke, the wreckage of the ship flies into the air, turning into a blazing fire. In the foreground, in a dark silhouette, stands the flagship of the Russian fleet, to which, saluting, a boat with the crew of Lieutenant Ilyin, who blew up his fire-ship among the Turkish flotilla, approaches. On the water you can make out the wreckage of Turkish ships with groups of sailors calling for help, and other details.

"Battle of Chesme June 25-26, 1770"
1848
Oil on canvas 220 x 188
Feodosia Art Gallery named after. I.K. Aivazovsky
Feodosia

Review of the Black Sea Fleet in 1849
1886 131x249

"Brig Mercury attacked by two Turkish ships"
1892
Canvas, oil

“The brig Mercury, after defeating two Turkish ships, meets with the Russian squadron”
1848
Oil on canvas 123 x 190
State Russian Museum
Saint Petersburg

"Storm at Sea at Night"
1849
Oil on canvas 89 x 106
Palaces-museums and parks of Petrodvorets
Peterhof, Leningrad region

Aivazovsky's contribution to battle painting is significant. He captured episodes of the Sevastopol defense, and repeatedly turned to the heroic exploits of the Russian navy: “Every victory of our troops on land or at sea,” the artist wrote, “makes me happy, as a Russian at heart, and gives me an idea of ​​how an artist can depict it on canvas...”.

"Storm"
1850
Oil on canvas 82 x 117
State Art Gallery of Armenia
Yerevan

Aivazovsky was the last and most prominent representative of the romantic movement in Russian painting. His best romantic works of the second half of the 40s and 50s are: “Storm on the Black Sea” (1845), “St. George’s Monastery” (1846), “Entrance into the Sevastopol Bay” (1851).

Entrance to Sevastopol Bay 1852

View of Constantinople by moonlight
1846
124 x 192 cm
Canvas, oil
Romanticism, realism
Russia
Saint Petersburg. State Russian Museum

View of the Leander Tower in Constantinople
1848
Canvas, oil
58 x 45.3
Tretyakov Gallery

The largest marine painter in Russian painting of the 19th century, I.K. Aivazovsky, traveled a lot and often included images of famous people in his seascapes. architectural structures. The Leandrova (Maiden) Tower depicted in the painting was built in the 12th century on a small rock at the entrance to the strait of Istanbul harbor and has long served as a lighthouse and mooring place for ships. It is still used as a lighthouse today. The tower rises against the background of a golden sky, the rays of the setting sun paint the surface of the sea water in pearlescent tones, and silhouettes of buildings appear in the distance ancient city. Soft sunlight romanticizes the landscape created by the artist.

"Moonlight night"
1849
Oil on canvas 123 x 192
State Russian Museum
Saint Petersburg

Sunset on the sea
1856
121.5x188

“Night in Crimea. View of Ayudag"
1859
Oil on canvas 63 x 83
Odessa Art Museum
Odessa

Storm
1857
100x49

The fifties are associated with Crimean War 1853 - 1856. As soon as word of the Battle of Sinop reached Aivazovsky, he immediately went to Sevastopol and asked the participants in the battle about all the circumstances of the case. Soon two paintings by Aivazovsky were exhibited in Sevastopol, depicting Sinop battle night and day. Admiral Nakhimov, highly appreciating Aivazovsky’s work, especially the night battle, said: “The picture was extremely well done.”

“Sinop battle (day version)”
1853
Canvas, oil

“Battle of Sinop November 18, 1853 (the night after the battle)”
1853
Canvas, oil. 220 x 331 cm
Central Naval Museum

Capture of the Turkish military transport Messina by the steamer "Russia" on the Black Sea on December 13, 1877

The battle of the Vesta steamship with the Turkish battleship Fehti-Buland in the Black Sea on July 11, 1877

In Aivazovsky’s work one can find paintings on a wide variety of topics, for example, images of the nature of Ukraine. He loved the boundless Ukrainian steppes and inspiredly depicted them in his works (“Chumatsky convoy” (1868), “Ukrainian landscape” (1868)), coming close to the landscape of the masters of Russian ideological realism. Aivazovsky’s proximity to Gogol, Shevchenko, and Sternberg played a role in this attachment to Ukraine.

Chumaks on vacation
1885

Convoy in the steppe

"Ukrainian landscape with Chumaks under the moon"
1869
Canvas, oil. 60 x 82 cm
State Tretyakov Gallery

Windmills in the Ukrainian Steppe at sunset
1862 51x60

"A Flock of Sheep in a Storm"
1861
Oil on canvas 76 x 125
Collection of A. Shahinyan
NY

Neighborhoods of Yalta at night
1866

Neighborhoods of Yalta
1863
20.2x28

Storm on the North Sea
1865 269x195

Sunset on the sea
1866

Moonlit night on the Bosphorus
1894 49.7x75.8

After the storm. Moon rise
1894 41x58

“View of the sea from the mountains at sunset”
1864
Oil on canvas 122 x 170
State Russian Museum
Saint Petersburg

"Global flood"
1864
Oil on canvas 246.5 x 369
State Russian Museum
Saint Petersburg

"The Death of Pompeii"
1889
Oil on canvas 128 x 218
Rostov Regional Museum of Fine Arts
Rostov
to be continued...

Http://gallerix.ru/album/aivazovsky
http://www.artsait.ru/art/a/aivazovsky/main.htm

Why is Aivazovsky’s sea so living, breathing and transparent? What is the axis of any of his paintings? Where should we look to fully enjoy his masterpieces? As he wrote: long, short, joyful or painful? And what does impressionism have to do with Aivazovsky?

Of course, Aivazovsky was born a genius. But there was also a craft that he mastered brilliantly and the intricacies of which he wanted to understand. So, from what were Aivazovsky’s sea foam and lunar paths born?..


Ivan Constantinovich Aivazovski. Storm off the rocky coast. 102×73 cm.

“Secret colors”, Aivazovsky wave, glaze

Ivan Kramskoy wrote to Pavel Tretyakov: “Aivazovsky probably has the secret of composing paints, and even the paints themselves are secret; I have never seen such bright and pure tones even on the shelves of mosquito stores.” Some of Aivazovsky’s secrets have reached us, although the main one is not a secret at all: in order to paint the sea like this, you need to be born by the sea, live a long life near it, during which you will never get tired of it.

The famous “Aivazovsky wave” is a foaming, almost transparent sea wave that feels moving, swift, and alive. The artist achieved transparency using the glaze technique, that is, applying the thinnest layers of paint on top of each other. Aivazovsky preferred oil, but often his waves appear watercolor. It is as a result of glazing that the image acquires this transparency, and the colors seem very saturated, but not due to the density of the stroke, but due to the special depth and subtlety. Aivazovsky's masterly glazing is a delight for collectors: most of his paintings are in excellent condition - the thinnest layers of paint are less susceptible to cracking.

Aivazovsky wrote quickly, often creating works in one session, so his glazing technique had his own nuances. Here is what Nikolai Barsamov, long-time director of the Feodosia Art Gallery and the largest expert on Aivazovsky’s work, writes about this: “...he sometimes glazed water over a semi-dry underpainting. Often the artist glazed the waves at their base, which gave depth and strength to the colorful tone and achieved the effect of a transparent wave. Sometimes significant planes of the painting were darkened by glazing. But glazing in Aivazovsky’s painting was not a mandatory last stage of work, as was the case with the old masters with the three-layer painting method. All of his painting was basically done in one step, and he often used glazing as one of the ways of applying a layer of paint on white ground at the beginning of work, and not just as final markings at the end of the work. The artist sometimes used glazing at the first stage of work, covering large areas of the painting with a translucent layer of paint and using the white primer of the canvas as a luminous lining. This is how he sometimes wrote water. By skillfully distributing layers of paint of varying densities across the canvas, Aivazovsky achieved a true representation of the transparency of water.”

Aivazovsky turned to glazes not only when working on waves and clouds; with their help, he was able to breathe life into land. “Aivazovsky painted earth and stones with rough bristly brushes. It is possible that he specially trimmed them so that the hard ends of the bristles would leave grooves on the paint layer, says art critic Barsamov. — The paint in these places is usually applied in a thick layer. As a rule, Aivazovsky almost always glazed the land. The glaze (darker) tone, falling into the furrows from the bristles, gave a peculiar liveliness to the paint layer and greater reality to the depicted form.”

As for the question “where do the paints come from?”, it is known that in recent years he bought paints from the Berlin company Mewes. It's simple. But there is also a legend: allegedly Aivazovsky bought paints from Turner. On this score, only one thing can be said: theoretically it is possible, but even if so, Aivazovsky certainly did not paint all 6,000 of his works with Turner paints. And the painting to which the impressed Turner dedicated the poem was created by Aivazovsky even before he met the great British marine painter.

Ivan Constantinovich Aivazovski. Bay of Naples on a moonlit night. 1842, 92×141 cm.

“In your picture I see the moon with its gold and silver, standing above the sea, reflected in it. The surface of the sea, onto which a light breeze blows a quivering swell, seems like a field of sparks. Forgive me, great artist, if I was mistaken in mistaking the picture for reality, but your work enchanted me, and delight took possession of me. Your art is eternal and powerful, because you are inspired by genius.", - poems by William Turner about Aivazovsky’s painting “The Bay of Naples on a Moonlit Night.”

Ivan Constantinovich Aivazovski. Among the waves. 1898, 285×429 cm.

The main thing is to start, or At the pace of Aivazovsky

Aivazovsky always began his work with an image of the sky, and painted it in one step - it could be 10 minutes or 6 hours. He painted the light in the sky not with the side surface of the brush, but with its end, that is, he “illuminated” the sky with numerous quick touches of the brush. The sky is ready - you can relax, get distracted (however, he allowed himself this only with paintings, which took quite a lot of time). He could write the sea in several passes.

According to Ivan Aivazovsky, working on a painting for a long time means, for example, painting one canvas for 10 days. That’s exactly how long it took the artist, who was 81 years old at the time, to create his largest painting, “Among the Waves.” At the same time, according to him, his whole life was preparation for this picture. That is, the work required maximum effort from the artist - and ten whole days. But in the history of art, it is not uncommon for paintings to take twenty or more years to be painted (for example, Fyodor Bruni wrote his “Copper Serpent” for 14 years, began in 1827, and finished in 1841).

In Italy, Aivazovsky at a certain period became friends with Alexander Ivanov, the same one who wrote “The Appearance of Christ to the People” for 20 years, from 1837 to 1857. They even tried to work together, but pretty soon they quarreled. Ivanov could work on a sketch for months, trying to achieve special accuracy of a poplar leaf, while Aivazovsky managed to explore all the surrounding areas and paint several paintings during this time: “I can’t write quietly, I can’t pore for months. I don’t leave the picture until I speak out.”. Such different talents, different ways of creating - hard labor and joyful admiration of life - could not stay close for long.

Ivan Aivazovsky next to his painting, photograph from 1898.
Aivazovsky at the easel.

“The furnishings of the workshop were exceptionally simple. In front of the easel stood a simple chair with a wicker reed seat, the back of which was covered with a rather thick layer of paint, since Aivazovsky had the habit of throwing his arm and brush over the back of the chair and, sitting half-turned towards the painting, looking at it,” from the memoirs of Konstantin Artseulov , this grandson of Aivazovsky also became an artist.

Creativity as joy

Aivazovsky’s muse (excuse us for this pompousness) is joyful, not painful. " Judging by the lightness, the apparent ease of the movement of the hand, and the contented expression on the face, one could safely say that such work is a true pleasure.”, - these are the impressions of an official of the Ministry of the Imperial Court, writer Vasily Krivenko, who watched Aivazovsky work.

Aivazovsky, of course, saw that for many artists their gift is either a blessing or a curse; some paintings are painted almost in blood, depleting and exhausting their creator. For him, approaching the canvas with a brush was always the greatest joy and happiness; he acquired a special lightness and omnipotence in his workshop. At the same time, Aivazovsky listened carefully to practical advice and did not brush aside the comments of people whom he valued and respected. Although not enough to believe that the lightness of his brush is a drawback.

Plein air VS workshop

Only the lazy did not talk about the importance of working with nature in those years. Aivazovsky preferred to make fleeting sketches from life and paint in the studio. “Preferred” is perhaps not quite the right word; it’s not a matter of convenience, it was his fundamental choice. He believed that it was impossible to depict from life the movement of the elements, the breath of the sea, the rumble of thunder and the flash of lightning - and this is precisely what interested him. Aivazovsky had a phenomenal memory and considered it his task “on location” to absorb what was happening. To feel and remember, in order to return to the studio and throw out these sensations on canvas - that’s what nature is needed for. At the same time, Aivazovsky was an excellent copyist. While studying with Maxim Vorobyov, he demonstrated this skill to the fullest. But copying - even someone’s paintings, even nature - seemed to him much less than he could do.

Ivan Constantinovich Aivazovski. Amalfi Bay in 1842. Sketch. 1880s

Ivan Constantinovich Aivazovski. Coast in Amalfi. 105×71 cm.

The artist Ilya Ostroukhov left detailed memories of Aivazovsky’s rapid work and what his sketches from life were like:

"With the manner of execution artwork I happened to become acquainted with the late famous marine painter Aivazovsky in 1889, during one of my trips abroad, to Biarritz. At approximately the same time that I arrived in Biarritz, Aivazovsky also arrived there. The venerable artist was already, as I remember, about seventy years old... Having learned that I was well acquainted with the topography of the area, [he] immediately took me for a walk along the ocean shore. It was a stormy day, and Aivazovsky, enchanted by the view of the ocean waves, stopped on the beach...

Without taking his eyes off the ocean and the landscape of distant mountains, he slowly took out his tiny notebook and drew only three lines with a pencil - the outline of distant mountains, the line of the ocean at the foot of these mountains, and the line of the coast away from me. Then we went further with him. Having walked about a mile, he stopped again and made the same drawing of several lines in the other direction.

- It's a cloudy day today.- said Aivazovsky, - and please just tell me where the sun rises and sets here.

I pointed. Aivazovsky put several dots in the book and hid the book in his pocket.

- Now let's go. That's enough for me. Tomorrow I will paint the ocean surf in Biarritz.

The next day, three were actually written spectacular paintings sea ​​surf: in Biarritz: in the morning, at noon and at sunset..."

Ivan Constantinovich Aivazovski. Biarritz. 1889, 18×27 cm.

Aivazovsky's sun, or what does impressionism have to do with it

The Armenian artist Martiros Saryan noticed that no matter what grandiose storm Aivazovsky depicts, a ray of light will always break through the accumulation of thunderclouds in the upper part of the canvas - sometimes clear, sometimes subtle and barely noticeable: “It is in it, this Light, that the meaning of all the storms depicted by Aivazovsky lies.”

Ivan Constantinovich Aivazovski. Storm on the North Sea. XX, 202×276 cm.

Ivan Constantinovich Aivazovski. Moonlight night. 1849, 192×123 cm.

Ivan Constantinovich Aivazovski. Bay of Naples on a moonlit night. 1892, 73×45 cm.

Ivan Constantinovich Aivazovski. The ship "Empress Maria" during a storm. 1892, 224×354 cm.

Ivan Constantinovich Aivazovski. Moonlight night in Capri. 1841, 26×38 cm.

If it is the sun, then it will illuminate the blackest storm, if it is a lunar path, then it will fill the entire canvas with its flickering. We are not going to call Aivazovsky either an impressionist or a forerunner of impressionism. But let us quote the words of philanthropist Alexei Tomilov - he criticizes Aivazovsky’s paintings: “The figures are sacrificed to such an extent that it is impossible to recognize whether in the foreground they are men or women (...) air and water flaunt”. We say about the impressionists that the main characters of their paintings are color and light, one of the main tasks is the transfer of light-air mass. In Aivazovsky’s works, light comes first, and yes, quite rightly, air and water (in his case it’s about sky and sea). Everything else is built around this main thing.

He strives not only to depict believably, but to convey sensations: the sun should shine so that you want to close your eyes, the viewer will shrink from the wind, and recoil in fear from the waves. The latter, in particular, was done by Repin when Aivazovsky suddenly opened the door of the room in front of him, behind which his “The Ninth Wave” stood.

Ivan Constantinovich Aivazovski. The ninth wave. 332×221 cm.

How to look at Aivazovsky's paintings

The artist gave completely unambiguous recommendations: you should look for the brightest point on the canvas, the source of light, and, having peered closely at it, glide your gaze across the canvas. For example, when he was reproached that “Moonlit Night” was not finished, he argued that if the viewer “ will pay the main attention to the moon and gradually, sticking to the interesting point of the picture, will look at other parts of the picture in passing, and beyond this, not forgetting that this is night, which deprives us of all reflections, then such a viewer will find that this picture is more complete than should".

Ivan Constantinovich Aivazovski. Moonlit night in Crimea. Gurzuf, 1839, 101×136.5 cm.

Ivan Constantinovich Aivazovski. The Explosion of a Ship Konstantin Aivazovsky is not one of those artists who lose inspiration in the process and abandon their work unfinished. But one day this happened to him too - he did not finish the painting “The Explosion of the Ship” (1900). Death got in the way. This unfinished work especially valuable for researchers of his work. It allows you to understand what the artist considered to be the main thing in the picture, and what elements he began working with. We see that Aivazovsky started with a ship and the flame of an explosion - something that will touch the viewer’s soul. And the artist left the details that the viewer will simply glide over for later.

Ship explosion. 1900

Ivan Constantinovich Aivazovski. Azure Grotto. Naples. 1841, 100×74 cm.

The modern viewer is sometimes discouraged by the intense coloring of Aivazovsky’s paintings, his bright, uncompromising colors. There is an explanation for this. And this is not at all a bad taste of the artist.

Today we look at Aivazovsky’s marinas in museums. Often these are provincial galleries, with dilapidated interiors and without special lighting, which is replaced simply by light from the window. But during Aivazovsky’s life, his paintings hung in rich living rooms and even in palaces. Under stucco ceilings, on walls covered with luxurious trellises, in the light of chandeliers and candelabra. It is quite possible that the artist was careful that his paintings would not get lost against the backdrop of colorful carpets and gilded furniture.

Experts say that Aivazovsky’s night landscapes, which often look rustic in poor natural light or under rare lamps, come to life, becoming mysterious and noble, as the artist intended them, when viewed by candlelight. Especially those paintings that Aivazovsky painted by candlelight.

Ivan Konstantinovich Aivazovsky, whose real name is “Hovhannes Ayvazyan,” was a collector and philanthropist, but in the first degree he is still an artist, and the most talented and outstanding in his genre.

In fact, since the artist’s family, having escaped the genocide, moved to Poland, their surname was pronounced in the Polish manner “Gayvazyan”, and Ivan later became Gayvazovsky. Later he called himself, which variation has survived to this day, Aivazovsky, but the whole world remembers this man as an outstanding marine painter and battle painter. Many critics responded positively to his paintings, and today the top five masterpieces of Ivan Konstantinovich, compiled from those paintings by the artist that have gained worldwide fame, will be presented. So, the five most famous paintings by I.K. Aivazovsky.

First place. The world famous "Ninth Wave"

Legends were made about this picture. It is the best and truly stunning creation of Aivazovsky, in which he was able to convey all the beauty of the sea during a storm. The huge size of the painting makes you raise your eyebrows in silent surprise, because such a work, detailed and skillfully painted on such a scale, is not something everyone can do.

Ivan Konstantinovich wrote the canvas in just eleven days, continuing the tradition of quick writing and without changing it at all. The ideal construction, extraordinary plot and the very mood of the picture amaze even ordinary people who are far from art. In the center of the picture and the composition itself are the unfortunate, but still surviving sailors, clinging to the mast, who are about to be swallowed up by the elements, putting an end to their fate. And somewhere on the horizon the first rays are drawn with light, almost careless strokes rising sun. The storm is coming to an end. The cold hell is retreating. Truly harmony after destruction.

Second place. Victorious "Chesme Battle"

The history of Russia is gilded with the glory of many and many victories, but this one is remembered for its special merits. The Battle of Chesme is an episode of the Russian-Turkish War of 1768-1774, which thundered back in 1770. It was after this battle that Count A. Orlov, one of the ruler’s favorites, who commanded the fleet, reported to Empress Catherine the Great about seizing control of the Dardanelles.
The artist, with a truly academic brush, paints the fading glow of a bloody battle, deafeningly merciless. The enemy ships have been sunk, and in some places their masts are still burning out, casting a red glow into the water; In the sky, the moon shines like a dragon's eye, faded and lifeless. Black, as if the sky was sprinkled with ash. Color contrasts.

The canvas, oddly enough, is distinguished by its amazing calm: everything is over, the sailors lay down their arms and heal the wounded, celebrating victory. Life has triumphed, it just has to be returned to its usual cycle, although there are still four whole years of war ahead. An atmospheric and exclusive masterpiece.

Third place. Alarming "Rainbow"

Whatever one may say, but The painter's favorite theme is restless water. A storm that scars the surface of the sea and throws sea inhabitants ashore, thunderclaps, flashes of lightning in the pitch darkness. Oceanic romance, beautiful, but no less unpredictable, alien to those who do not love the sea. And Aivazovsky loved the sea like no one else.
The painting depicts his favorite state of the sea. The ship, dangerously tilted to the left, is about to be swallowed up into a citadel of maddened bitter water; a couple of boats, like pieces of wood, are tossed by the waves, forcing the people sitting in them to lose their last hope of salvation. But there is a rainbow in the sky. According to the Bible, God created the rainbow as part of an oath to never again send a flood to his children. Maybe this is a mysterious sign to sailors..? A beautiful painting with deep meaning.

Fourth place. The quiet surface of the painting “Black Sea”

The Black Sea has always been known as a bastion of tranquility. Seagulls cutting through the endless horizons of dark water (from which the sea got its name), warm, humid air, scorching sun. The local seaside towns are known as health resorts, where they train the defenders of the Motherland, for whom this sea becomes a kind of alma mater. And Ivan Konstantinovich’s attention also did not ignore this picturesque corner of Russia.

The Black Sea is depicted as a serene cradle of life in the artist’s painting. With masterful strokes, he perfects the play of waves in a light breeze. Such a sea caresses the shore and shakes the jellyfish that shine through clear water, appearing black and blue only from afar. Such a sea beckons, promising to warm you in its salty embrace, but the impression is deceptive: clouds are gathering, and soon this calm may come to an end.

A lonely ship sails on the brightening horizon, unaware of the impending danger. But will he escape the fate of being buried in this still calm water?

Fifth place. "Among the Waves", impressive and surprising

This picture is placed at the end of the rating not at all because it is somehow worse than others: Aivazovsky does not have bad films. But this particular one in chronological sequence was later than all the previous ones, and it is this one that can be considered a definite, even iconic and symbolic, kind of “creative testament” of a marine painter who found his unique style and put his whole soul into the creation.

This painting can be called a logical or, rather, poetic continuation of the “Black Sea”. Both continuation and completion. There the storm only shows the first signs, hinting that it will soon break out, but here it shows itself as an inexorable element, ready to devour the skies themselves, painted in dark green turquoise at the top of the picture.

You can see the pale flashes of the waves, you can almost hear the dangerous, inviting sound of the water. This is night, this is the epicenter of a spontaneous explosion. At that time, eighty-two-year-old Konstantin Ivanovich was able to show how tragic and troublesome a storm can be. “In its storm there is rapture, there is eternal beauty...” - Dostoevsky wrote much earlier than this painting, the culmination painting, appeared genius creativity Aivazovsky. Masterpiece.

Ivan Aivazovsky is a genius. His paintings are true masterpieces. And not even from the technical side. What comes to the fore here is a surprisingly truthful reflection of the subtle nature of the water element. Naturally, there is a desire to understand the nature of Aivazovsky’s genius.

Any piece of fate was a necessary and inseparable addition to his talent. In this article, we will try to open the door even a centimeter into the wonderful world of one of the most famous marine painters in history - Ivan Konstantinovich Aivazovsky.

It goes without saying that world-class painting requires great talent. But marine painters have always stood apart. Convey aesthetics " big water" difficult. The difficulty here, first of all, is that it is on canvases depicting the sea that the falseness is most clearly felt.

Famous paintings by Ivan Konstantinovich Aivazovsky

The most interesting thing for you!

Family and hometown

Ivan's father was a sociable, enterprising and capable man. For a long time he lived in Galicia, later moving to Wallachia (modern Moldavia). Perhaps he traveled with a gypsy camp for some time, because Konstantin spoke Gypsy. Besides him, by the way, this most curious man spoke Polish, Russian, Ukrainian, Hungarian, and Turkish.

In the end, fate brought him to Feodosia, which recently received the status of a free port. The city, which until recently had 350 inhabitants, has become a vibrant one. shopping mall with a population of several thousand people.

From all over the south Russian Empire cargo was delivered to the port of Feodosia, and goods from sunny Greece and bright Italy were sent back. Konstantin Grigorievich, not rich, but enterprising, successfully engaged in trade and married an Armenian woman named Hripsime. A year later, their son Gabriel was born. Konstantin and Hripsime were happy and even began to think about changing their home - the small house they built upon their arrival in the city became a bit cramped.

But soon the Patriotic War of 1812 began, and after it a plague epidemic came to the city. At the same time, another son was born into the family - Gregory. Konstantin's affairs went downhill sharply, he went bankrupt. The need was so great that almost all valuables from the house had to be sold. The father of the family became involved in litigation. His beloved wife helped him a lot - Repsime was a skilled needlewoman and often embroidered all night long in order to later sell her products and support the family.

On July 17, 1817, Hovhannes was born, who became known to the whole world under the name of Ivan Aivazovsky (he changed his last name only in 1841, but we will call Ivan Konstantinovich that now, after all, he became famous as Aivazovsky). It cannot be said that his childhood was like a fairy tale. The family was poor and at the age of 10 Hovhannes went to work in a coffee shop. By that time, the older brother had left to study in Venice, and the middle brother was just receiving his education at the district school.

Despite the work, the soul of the future artist truly blossomed in the beautiful southern city. Not surprising! Theodosia, despite all the efforts of fate, did not want to lose her brightness. Armenians, Greeks, Turks, Tatars, Russians, Ukrainians - a mishmash of traditions, customs, languages ​​created a colorful background of Feodosian life. But in the foreground was, of course, the sea. It is this that brings that very flavor that no one can recreate artificially.

The incredible luck of Vanya Aivazovsky

Ivan was a very capable child - he learned to play the violin himself and began to draw. His first easel was the wall of his father’s house; instead of canvas, he was content with plaster, and a brush was replaced by a piece of coal. The amazing boy was immediately noticed by a couple of prominent benefactors. First, the Feodosia architect Yakov Khristianovich Koch drew attention to the drawings of unusual craftsmanship.

He gave Vanya his first lessons visual arts. Later, after hearing Aivazovsky play the violin, the mayor Alexander Ivanovich Kaznacheev became interested in him. A funny story happened when Koch decided to introduce little artist Treasurer, he turned out to be already familiar with him. Thanks to the patronage of Alexander Ivanovich, in 1830 Vanya entered the Simferopol Lyceum.

The next three years became an important milestone in Aivazovsky's life. While studying at the Lyceum, he differed from others in his completely unimaginable talent for drawing. It was hard for the boy - longing for his family and, of course, the sea affected him. But he kept his old acquaintances and made new ones, no less useful. First, Kaznacheev was transferred to Simferopol, and later Ivan began to enter the house of Natalya Fedorovna Naryshkina. The boy was allowed to use books and engravings; he constantly worked, looking for new subjects and techniques. Every day the skill of the genius grew.

Noble patrons of Aivazovsky’s talent decided to petition for his admission to the St. Petersburg Academy of Arts, and sent him to the capital best drawings. After viewing them, the President of the Academy, Alexei Nikolaevich Olenin, wrote to the Minister of the Court, Prince Volkonsky:

“The young Gaivazovsky, judging by his drawing, has an extreme affinity for composition, but how, being in the Crimea, he could not have been prepared there for drawing and painting, so as not only to be sent to foreign lands and study there without guidance, but even so as to become a full-time academician of the Imperial Academy of Arts, for on the basis of § 2 of the addition to its regulations, those entering must be at least 14 years old.

It is good to draw, at least from originals, a human figure, to draw orders of architecture and to have preliminary knowledge in the sciences, then, so as not to deprive this young man of the opportunity and ways to develop and improve his natural abilities for art, I considered the only means for this to be the highest permission to appoint him to the academy as a pensioner of His Imperial Majesty with production for his maintenance and other 600 rubles. from His Majesty’s Cabinet so that he could be brought here at public expense.”

The permission that Olenin asked for was received when Volkonsky showed the drawings personally to Emperor Nicholas. July 22 St. Petersburg Academy of Arts accepted a new student for training. Childhood is over. But Aivazovsky went to St. Petersburg without fear - he truly felt that brilliant achievements of artistic genius lay ahead.

Big city - big opportunities

The St. Petersburg period of Aivazovsky’s life is interesting for several reasons. Of course, training at the Academy played an important role. Ivan’s talent was complemented by much-needed academic lessons. But in this article I would like to first of all talk about your social circle young artist. Truly, Aivazovsky was always lucky to have acquaintances.

Aivazovsky arrived in St. Petersburg in August. And although he had heard a lot about the terrible St. Petersburg dampness and cold, in the summer he felt none of this. Ivan walked around the city all day. Apparently, the artist’s soul filled the longing for the familiar south with beautiful views of the city on the Neva. Aivazovsky was especially struck by the construction of St. Isaac's Cathedral and the monument to Peter the Great. The massive bronze figure of the first emperor of Russia aroused genuine admiration for the artist. Still would! It was Peter who owed the existence of this wonderful city.

Amazing talent and acquaintance with Kaznacheev made Hovhannes a favorite of the public. Moreover, this audience was very influential and more than once helped the young talent. Vorobyov, Aivazovsky’s first teacher at the Academy, immediately realized what a talent he had. Undoubtedly these creative people Music also brought them together - Maxim Nikiforovich, like his student, also played the violin.

But over time, it became obvious that Aivazovsky had outgrown Vorobyov. Then he was sent as a student to the French marine painter Philippe Tanner. But Ivan did not get along with the foreigner and, due to illness (either fictitious or real), left him. Instead, he began working on a series of paintings for an exhibition. And it must be admitted that he created impressive canvases. It was then, in 1835, that he received a silver medal for his works “Study of air over the sea” and “View of the seaside in the vicinity of St. Petersburg.”

But alas, the capital was not only a cultural center, but also the epicenter of intrigue. Tanner complained to his superiors about the rebellious Aivazovsky, saying why did his student work for himself during his illness? Nicholas I, a well-known disciplinarian, personally ordered the removal of the young artist’s paintings from the exhibition. It was a very painful blow.

Aivazovsky was not allowed to mope - the entire public vehemently opposed his groundless disgrace. Olenin, Zhukovsky, and the court artist Sauerweid petitioned for Ivan's forgiveness. Krylov himself personally came to console Hovhannes: “What. brother, is the Frenchman offending you? Eh, what kind of guy is he... Well, God bless him! Do not be sad!..". In the end, justice triumphed - the emperor forgave the young artist and ordered the award to be issued.

Largely thanks to Sauerweid, Ivan was able to undergo summer internship on ships of the Baltic Fleet. Created just a hundred years ago, the fleet was already a formidable force. Russian state. And, of course, for a beginning marine painter it was impossible to find a more necessary, useful and enjoyable practice.

Writing ships without the slightest idea about their structure is a crime! Ivan did not hesitate to communicate with sailors and carry out small tasks for officers. And in the evenings he played his favorite violin for the team - in the middle of the cold Baltic, the enchanting sound of the Black Sea south could be heard.

Charming artist

All this time, Aivazovsky did not stop corresponding with his old benefactor Kaznacheev. It was thanks to him that Ivan began to enter the houses of Alexei Romanovich Tomilov and Alexander Arkadyevich Suvorov-Rymniksky, the grandson of the famous commander. At the Tomilovs' dacha, Ivan even spent summer holidays. It was then that Aivazovsky became acquainted with Russian nature, unusual for a southerner. But the artist’s heart perceives beauty in any form. Every day Aivazovsky spent in St. Petersburg or the surrounding area added something new to the worldview of the future maestro of painting.

The top of the intelligentsia of that time gathered in the Tomilovs' house - Mikhail Glinka, Orest Kiprensky, Nestor Kukolnik, Vasily Zhukovsky. Evenings in such company were extremely interesting for the artist. Aivazovsky's senior comrades accepted him into their circle without any problems. The democratic tendencies of the intelligentsia and the extraordinary talent of the young man allowed him to take a worthy place in the company of Tomilov’s friends. In the evenings, Aivazovsky often played the violin in a special, oriental manner - resting the instrument on his knee or standing it upright. Glinka even included a short excerpt played by Aivazovsky in his opera Ruslan and Lyudmila.

It is known that Aivazovsky was familiar with Pushkin and loved his poetry very much. The death of Alexander Sergeevich was taken very painfully by Hovhannes; later he specially came to Gurzuf, precisely to the place where he spent time great poet. No less important for Ivan was the meeting with Karl Bryullov. Having recently completed work on the canvas “The Last Day of Pompeii,” he came to St. Petersburg and each of the Academy students passionately wished that Bryullov would be his mentor.

Aivazovsky was not a student of Bryullov, but often communicated with him personally, and Karl Pavlovich noted Hovhannes’ talent. Nestor Kukolnik dedicated a lengthy article to Aivazovsky precisely at Bryullov’s insistence. The experienced painter saw that subsequent studies at the Academy would be more of a regression for Ivan - there were no teachers left who could give something new to the young artist.

He proposed to the Academy council to shorten Aivazovsky’s training period and send him abroad. Moreover, the new marina “Shtil” won a gold medal at the exhibition. And this award just gave the right to travel abroad.

But instead of Venice and Dresden, Hovhannes was sent to Crimea for two years. Aivazovsky was hardly happy - he would be home again!

Rest…

In the spring of 1838, Aivazovsky arrived in Feodosia. Finally he saw his family, his beloved city and, of course, the southern sea. Of course, the Baltic has its own charm. But for Aivazovsky, it is the Black Sea that will always be the source of the brightest inspiration. Even after such a long separation from his family, the artist puts work first.

He finds time to communicate with his mother, father, sisters and brother - everyone is sincerely proud of Hovhannes, the most promising artist in St. Petersburg! At the same time, Aivazovsky is working hard. He paints canvases for hours, and then, tired, he goes to the sea. Here he can feel that mood, that elusive excitement that the Black Sea aroused in him from an early age.

Soon the retired Treasurer came to visit the Aivazovskys. He, along with his parents, rejoiced at Hovhannes’ success and first of all asked to see his new drawings. Having seen the beautiful works, he immediately took the artist with him on a trip along the southern coast of Crimea.

Of course, after such a long separation, it was unpleasant to leave the family again, but the desire to feel the native Crimea outweighed. Yalta, Gurzuf, Sevastopol - everywhere Aivazovsky found material for new canvases. Treasurers, who had left for Simferopol, urgently invited the artist to visit, but he again and again upset the benefactor with his refusal - work came first.

...before the fight!

At this time, Aivazovsky met another wonderful person. Nikolai Nikolaevich Raevsky is a brave man, an outstanding commander, the son of Nikolai Nikolaevich Raevsky, the hero of the defense of Raevsky’s battery in the Battle of Borodino. The lieutenant general participated in Napoleonic Wars, Caucasian campaigns.

These two people, unlike at first glance, were brought together by their love for Pushkin. Aivazovsky, who admired the poetic genius of Alexander Sergeevich from an early age, found a kindred spirit in Raevsky. Long, exciting conversations about the poet ended completely unexpectedly - Nikolai Nikolaevich invited Aivazovsky to accompany him on a sea voyage to the shores of the Caucasus and watch the Russian landing. It was an invaluable opportunity to see something new, and even on the much-loved Black Sea. Hovhannes immediately agreed.

Of course, this trip was important in terms of creativity. But even here there were invaluable meetings, it would be a crime to keep silent about them. On the ship "Colchis" Aivazovsky met Lev Sergeevich Pushkin, Alexander's brother. Later, when the ship joined the main squadron, Ivan met people who were an inexhaustible source of inspiration for the marine painter.

Having moved from Colchis to the battleship Silistria, Aivazovsky was introduced to Mikhail Petrovich Lazarev. A hero of Russia, a participant in the famous Battle of Navarino and the discoverer of Antarctica, an innovator and a competent commander, he became keenly interested in Aivazovsky and personally invited him to move from Colchis to Silistria to study the intricacies of naval affairs, which would undoubtedly be useful to him in his work. It would seem much further: Lev Pushkin, Nikolai Raevsky, Mikhail Lazarev - some will not meet even one person of this caliber in their entire lives. But Aivazovsky has a completely different fate.

Later he was introduced to Pavel Stepanovich Nakhimov, captain of the Silistria, future commander of the Russian fleet in the Battle of Sinop and organizer of the heroic defense of Sevastopol. In this brilliant company, the young Vladimir Alekseevich Kornilov, the future vice-admiral and captain of the famous sailing ship “The Twelve Apostles,” did not get lost at all. Aivazovsky worked with a very special passion these days: the situation was unique. Warm surroundings, the beloved Black Sea and elegant ships that you could explore as much as your heart desires.

But now the time has come to disembark. Aivazovsky personally wanted to take part in it. IN last moment They discovered that the artist was completely unarmed (of course!) and they gave him a pair of pistols. So Ivan went down into the landing boat - with a briefcase for papers and paints and pistols in his belt. Although his boat was among the first to moor to the shore, Aivazovsky did not personally observe the battle. A few minutes after the landing, the artist’s friend, midshipman Fredericks, was wounded. Not finding a doctor, Ivan himself provides assistance to the wounded man, and then takes him to the ship on a boat. But upon returning to shore, Aivazovsky sees that the battle is almost over. He gets to work without hesitating for a minute. However, let’s give the floor to the artist himself, who described the landing in the magazine “Kiev Antiquity” almost forty years later - in 1878:

“...The shore, illuminated by the setting sun, a forest, distant mountains, a fleet at anchor, boats scurrying on the sea, maintaining communication with the shore... Having passed the forest, I entered a clearing; here is a picture of a rest after a recent battle alarm: groups of soldiers, officers sitting on drums, corpses of the dead and Circassian carts arriving to clean up theirs. Having unfolded my briefcase, I armed myself with a pencil and began to sketch one group. At this time, some Circassian unceremoniously took the briefcase from my hands and carried it to show my drawing to his own. Whether the mountaineers liked him, I don’t know; I only remember that the Circassian returned the drawing to me, stained with blood... This “local flavor” remained on it, and for a long time I cherished this tangible memory of the expedition...”

What words! The artist saw everything - the shore, the setting sun, the forest, the mountains and, of course, the ships. A little later, he wrote one of his best works, “Landing at Subashi.” But this genius was in mortal danger during the landing! But Fate preserved him for further achievements. During his vacation, Aivazovsky also had a trip to the Caucasus and hard work on turning sketches into real canvases. But he coped with flying colors. As always, however.

Hello Europe!

Returning to St. Petersburg, Aivazovsky received the title of artist of the 14th class. His studies at the Academy ended, Hovhannes had outgrown all his teachers and he was given the opportunity to travel around Europe, naturally, with government support. He left with a light heart: his earnings allowed him to help his parents, and he himself could live quite comfortably. And although Aivazovsky first had to visit Berlin, Vienna, Trieste, Dresden, most of all he was drawn to Italy. There was the much-loved southern sea and the elusive magic of the Apennines. In July 1840, Ivan Aivazovsky and his friend and classmate Vasily Sternberg went to Rome.

This trip to Italy was very useful for Aivazovsky. He received a unique opportunity to study the works of great Italian masters. He spent hours standing by the canvases, sketching them, trying to understand the secret mechanism that made the creations of Raphael and Botticelli masterpieces. I tried to visit many interesting places, for example, the house of Columbus in Genoa. And what landscapes he found! The Apennines reminded Ivan of his native Crimea, but with its own, different charm.

And there was no feeling of kinship with the land. But there are so many opportunities for creativity! And Aivazovsky always took advantage of the opportunities provided to him. A remarkable fact speaks eloquently about the level of the artist’s skill: the Pope himself wanted to buy the painting “Chaos”. Somehow, the pontiff is used to receiving only the best! The shrewd artist refused payment, simply giving “Chaos” to Gregory XVI. Dad did not leave him without a reward, presenting him with a gold medal. But the main thing is the effect of the gift in the world of painting - the name of Aivazovsky thundered throughout Europe. For the first, but far from the last time.

Besides work, however, Ivan had another reason to visit Italy, or rather Venice. It was there on the island of St. Lazarus lived and worked with his brother Gabriel. While in the rank of archimandrite, he was engaged in research and teaching. The meeting between the brothers was warm; Gabriel asked a lot about Feodosia and his parents. But they soon broke up. The next time they meet is in Paris in a few years. In Rome, Aivazovsky met Nikolai Vasilyevich Gogol and Alexander Andreevich Ivanov. Even here, on foreign soil, Ivan managed to find the best representatives of the Russian land!

Exhibitions of Aivazovsky’s paintings were also held in Italy. The public was invariably delighted and keenly interested in this young Russian, who managed to convey all the warmth of the south. Increasingly, they began to recognize Aivazovsky on the streets, come to his workshop and order works. “The Bay of Naples”, “View of Vesuvius on a Moonlit Night”, “View of the Venetian Lagoon” - these masterpieces were the quintessence of the Italian spirit passed through Aivazovsky’s soul. In April 1842, he sent some of the paintings to Petersburg and notified Olenin of his intention to visit France and the Netherlands. Ivan no longer asks for permission to travel - he has enough money, he has loudly declared himself and will be warmly received in any country. He asks only for one thing - that his salary be sent to his mother.

Aivazovsky's paintings were presented at an exhibition in the Louvre and impressed the French so much that he was awarded a gold medal from the French Academy. But he did not limit himself to France alone: ​​England, Spain, Portugal, Malta - wherever one could see the sea so dear to his heart, the artist visited. The exhibitions were a success and Aivazovsky was unanimously showered with compliments from critics and inexperienced visitors. There was no longer a shortage of money, but Aivazovsky lived modestly, devoting himself to work to the fullest.

Artist of the Main Naval Staff

Not wanting to prolong his voyage, already in 1844 he returned to St. Petersburg. On July 1, he was awarded the Order of St. Anne, 3rd degree, and in September of the same year, Aivazovsky received the title of academician of the St. Petersburg Academy of Arts. In addition, he is included in the Main Naval Staff with the right to wear a uniform! We know with what reverence sailors treat the honor of their uniform. And here it is worn by a civilian, and an artist at that!

Nevertheless, this appointment was welcomed at Headquarters, and Ivan Konstantinovich (you can already call him that - a world-famous artist, after all!) enjoyed all the possible privileges of this position. He demanded drawings of ships, ship guns were fired for him (so that he could get a better look at the trajectory of the cannonball), Aivazovsky even took part in maneuvers in the Gulf of Finland! In a word, he didn’t just serve the number, but worked diligently and with desire. Naturally, the canvases were also on the level. Soon Aivazovsky’s paintings began to decorate the residences of the emperor, the houses of the nobility, state galleries and private collections.

The next year was very busy. In April 1845, Ivan Konstantinovich was included in the Russian delegation that was heading to Constantinople. Having visited Turkey, Aivazovsky was struck by the beauty of Istanbul and the beautiful coast of Anatolia. After some time he returned to Feodosia, where he bought land plot and began building his own workshop house, which he designed personally. Many do not understand the artist - the sovereign’s favorite, a popular artist, why not live in the capital? Or abroad? Feodosia is a wild wilderness! But Aivazovsky doesn’t think so. He arranges an exhibition of his paintings in the newly built house, on which he works day and night. Many guests noted that despite the seemingly home conditions, Ivan Konstantinovich became haggard and pale. But, in spite of everything, Aivazovsky finishes work and goes to St. Petersburg - he is still a service man, you cannot treat this irresponsibly!

Love and War

In 1846, Aivazovsky arrived in the capital and stayed there for several years. The reason for this was permanent exhibitions. At intervals of six months, they took place either in St. Petersburg or in Moscow in completely different places, sometimes cash, sometimes free. And Aivazovsky was always present at every exhibition. He received thanks, came to visit, accepted gifts and orders. Free time was rare in this bustle. One of the most famous paintings- “The Ninth Wave.”

But it is worth noting that Ivan still went to Feodosia. The reason for this was extremely important - in 1848 Aivazovsky got married. Suddenly? Until the age of 31, the artist did not have a lover - all his emotions and experiences remained on the canvases. And here is such an unexpected step. However, southern blood is hot, and love is an unpredictable thing. But even more amazing is Aivazovsky’s chosen one - a simple servant Julia Grace, an Englishwoman, the daughter of a physician who served Emperor Alexander.

Of course, this marriage did not go unnoticed in the social circles of St. Petersburg - many were surprised at the artist’s choice, many openly criticized him. Tired, apparently, of close attention to his personal life, Aivazovsky and his wife left home for Crimea in 1852. An additional reason (or maybe the main one?) was that first daughter - Elena, was already three years old, and second daughter - Maria, recently celebrated one year. In any case, Theodosia was waiting for Aivazovsky.

At home the artist is trying to organize art school, but receives a refusal from the emperor for funding. Instead, he and his wife begin archaeological excavations. In 1852, a family was born third daughter - Alexandra. Ivan Konstantinovich, of course, does not give up work on paintings. But in 1854, troops landed in Crimea, Aivazovsky hastily took his family to Kharkov, and he himself returned to besieged Sevastopol to his old acquaintance Kornilov.

Kornilov orders the artist to leave the city, saving him from possible death. Aivazovsky obeys. Soon the war ends. For everyone, but not for Aivazovsky - he will paint some more brilliant paintings on the theme of the Crimean War.

The following years pass in turmoil. Aivazovsky regularly travels to the capital, takes care of the affairs of Feodosia, goes to Paris to meet his brother, and opens an art school. Born in 1859 fourth daughter - Zhanna. But Aivazovsky is constantly busy. Despite traveling, creativity takes up the most time. During this period, paintings on biblical themes and battle paintings were created, which regularly appear at exhibitions - in Feodosia, Odessa, Taganrog, Moscow, St. Petersburg. In 1865, Aivazovsky received the Order of St. Vladimir, 3rd degree.

Admiral Aivazovsky

But Julia is not happy. Why does she need orders? Ivan ignores her requests, she does not receive due attention and in 1866 refuses to return to Feodosia. Aivazovsky took the breakup of his family hard, and in order to distract himself, he devoted himself entirely to work. He paints, travels around the Caucasus, Armenia, and devotes all his free time to students at his art academy.

In 1869, he went to the opening, the same year he organized another exhibition in St. Petersburg, and the next year he received the title of full state councilor, which corresponded to the rank of admiral. A unique case in Russian history! In 1872 he had an exhibition in Florence, for which he had been preparing for several years. But the effect exceeded all expectations - he was elected an honorary member of the Academy of Fine Arts, and his self-portrait adorned the gallery of the Pitti Palace - Ivan Konstantinovich stood on a par with the best artists Italy and the world.

A year later, having organized another exhibition in the capital, Aivazovsky left for Istanbul at the personal invitation of the Sultan. This year turned out to be fruitful - 25 canvases were painted for the Sultan! The sincerely admired Turkish ruler bestows the Order of Osmaniye, second degree, on Peter Konstantinovich. In 1875, Aivazovsky left Turkey and headed to St. Petersburg. But on the way he stops in Odessa to see his wife and children. Realizing that one cannot expect warmth from Yulia, he invites her and his daughter Zhanna to next year will go to Italy. The wife accepts the proposal.

During the trip, the couple visit Florence, Nice, and Paris. Yulia is pleased to appear with her husband at social functions, but Aivazovsky considers this to be of secondary importance and devotes all his free time to work. Realizing that his former marital happiness could not be returned, Aivazovsky asked the church to end the marriage and in 1877 his request was granted.

Returning to Russia, he travels to Feodosia with his daughter Alexandra, son-in-law Mikhail and grandson Nikolai. But Aivazovsky’s children did not have time to settle into their new place - another Russian-Turkish war began. Next year, the artist sends his daughter with her husband and son to Feodosia, and he himself goes abroad. For two whole years.

He will visit Germany and France, visit Genoa again, and will prepare paintings for exhibitions in Paris and London. Constantly seeks out promising artists from Russia, sending petitions to the Academy about their content. He received the news of his brother's death in 1879 painfully. To avoid moping, I went to work out of habit.

Love in Feodosia and love for Feodosia

Returning to his homeland in 1880, Aivazovsky immediately went to Feodosia and began construction of a special pavilion for an art gallery. He spends a lot of time with his grandson Misha, taking long walks with him, carefully instilling an artistic taste. Aivazovsky devotes several hours every day to students of the art academy. He works with inspiration, with unusual enthusiasm for his age. But he also demands a lot from students, is strict with them, and few can stand studying with Ivan Konstantinovich.

In 1882, the incomprehensible happened - the 65-year-old artist married a second time! His chosen one was a 25-year-old Anna Nikitichna Burnazyan. Since Anna was recently widowed (in fact, it was at her husband’s funeral that Aivazovsky drew attention to her), the artist had to wait a little before proposing marriage. January 30, 1882 Simferopol St. Assumption Church “actual state councilor I.K. Aivazovsky, divorced by decree of the Etchmiadzin Synoid of May 30, 1877 N 1361 from his first wife from a legal marriage, entered into a second legal marriage with the wife of a Feodosian merchant, widow Anna Mgrtchyan Sarsizova, both Armenian-Gregorian confessions."

Soon the couple travel to Greece, where Aivazovsky works again, including painting a portrait of his wife. In 1883, he constantly wrote letters to ministers, defending Feodosia and proving in every possible way that its location was perfectly suited for the construction of a port, and a little later he petitioned for a replacement for the city priest. In 1887, an exhibition of paintings by the Russian artist was held in Vienna, to which, however, he did not go, remaining in Feodosia. Instead, he devotes all his free time to creativity, his wife, his students, and builds an art gallery in Yalta. The 50th anniversary of Aivazovsky's artistic activity was celebrated with pomp. The entire high society of St. Petersburg came to greet the professor of painting, who became one of the symbols of Russian art.

In 1888, Aivazovsky received an invitation to visit Turkey, but did not go for political reasons. Nevertheless, he sends several dozen of his paintings to Istanbul, for which the Sultan awards him in absentia the Order of Medzhidiye, first degree. A year later, the artist and his wife went to a personal exhibition in Paris, where he was awarded the Order of the Foreign Legion. On the way back, the couple still stops at Istanbul, so beloved by Ivan Konstantinovich.

In 1892, Aivazovsky turns 75. And he goes to America! The artist plans to refresh his impressions of the ocean, see Niagara, visit New York, Chicago, Washington and present his paintings at the World Exhibition. And all this in my eighties! Well, sit in the rank of state councilor in your native Feodosia, surrounded by grandchildren and a young wife! No, Ivan Konstantinovich remembers very well why he rose so high. Hard work and fantastic dedication to work - without this, Aivazovsky will cease to be himself. However, he did not stay in America for long and returned home the same year. Came back to work. That was how Ivan Konstantinovich was.