Briefly: Ivan Konstantinovich Aivazovsky (Hovhannes Aivazyan; 1817-1900) is a world-famous Russian marine painter and collector. Brother of the Armenian historian Gavriil Aivazovsky.

Hovhannes Ayvazyan was born on July 29, 1817 in Feodosia (Crimea), in the family of an Armenian merchant. The artist's childhood passed in poverty, but thanks to his talent he was enrolled in the Simferopol gymnasium, and then in the Academy of Arts of St. Petersburg; studied with M. N. Vorobyov and F. Tanner.
Later, receiving a pension from the Academy of Arts, he lived in the Crimea (1838-40) and Italy (1840-44), visited England, Spain, Germany, and later traveled to Russia, the Middle East, Africa, and America.
In 1844 he became a painter of the Main Naval Staff, and from 1847 - a professor at the St. Petersburg Academy of Arts; was also in European academies: Rome, Florence, Amsterdam and Stuttgart.
Ivan Konstantinovich Aivazovsky painted mainly seascapes; created a series of portraits of the Crimean coastal towns. His career has been very successful. In total, the artist wrote more than 6 thousand works.

From 1845 he lived in Feodosia, where he opened an art school with the money he earned, which later became one of the art centers of Novorossia, and a gallery (1880). Actively engaged in the affairs of the city, its improvement, contributed to prosperity. He was interested in archeology, dealt with the protection of Crimean monuments, took part in the study of more than 80 burial mounds (some of the items found are stored in the Hermitage pantry).
At his own expense, he built a new building for the Feodosia Museum of Antiquities with a memorial to P. S. Kotlyarevsky; for services to archeology, he was elected a full member of the Odessa Society of History and Antiquities.
The archive of Aivazovsky's documents is stored in the Russian State Archive of Literature and Art, the State public library them. M. E. Saltykov-Shchedrin (St. Petersburg), State Tretyakov Gallery, State Central Theater Museum. A. A. Bakhrushina. Aivazovsky died on April 19 (May 2, according to a new style), 1900, while working on the painting “The Explosion of a Turkish Ship”.

Expanded: Aivazovsky was born on July 17 (30), 1817 in Feodosia. The ancient city, destroyed by the recent war, fell into complete decline due to the plague in 1812. In ancient drawings, we see piles of ruins on the site of a once rich city with barely visible traces of deserted streets and individual surviving houses.

The Aivazovskys' house stood on the outskirts of the city, on an elevated place. From the terrace, entwined with vines, a wide panorama of the smooth arc of the Feodosia Gulf, the northern Crimean steppes with ancient mounds, the Arabat Spit and the Sivash, rising like a haze on the horizon, opened up. Near the shore lay a ring of well-preserved ancient fortress walls and towers with formidable loopholes. Here, from a young age, the future artist learned to recognize in the shards of ancient dishes, mossy architectural fragments and green coins the features of a life that had long since died down, full of formidable events.

Aivazovsky's childhood passed in an environment that awakened his imagination. By sea, resinous fishing feluccas came to Feodosia from Greece and Turkey, and sometimes huge white-winged beauties, warships of the Black Sea Fleet, dropped anchor in the roadstead. Among them was, of course, the brig "Mercury", the fame of the recent, absolutely incredible feat of which spread all over the world and was vividly imprinted in Aivazovsky's childhood memory. They brought here the rumor about the harsh liberation struggle waged by the Greek people in those years.

Since childhood, Aivazovsky dreamed of the exploits of folk heroes. In his declining years, he wrote: “The first pictures I saw, when a spark of a fiery love for painting flared up in me, were lithographs depicting the exploits of heroes in the late twenties, fighting the Turks for the liberation of Greece. Subsequently, I learned that sympathy for the Greeks, overthrowing Turkish yoke, then all the poets of Europe expressed: Byron, Pushkin, Hugo, Lamartine ... The thought of this great country often visited me in the form of battles on land and at sea.

The romance of the exploits of the heroes fighting at sea, the truthful rumor about them, bordering on fantasy, aroused Aivazovsky's desire for creativity and determined the formation of many peculiar features of his talent, which clearly manifested themselves in the process of developing his talent.

A happy accident brought Aivazovsky from remote Feodosia to St. Petersburg, where in 1833, according to the presented children's drawings, he was enrolled in the Academy of Arts, in the landscape class of Professor M.N. Vorobyov.

Aivazovsky's talent was revealed unusually early. In 1835, for the sketch "Air over the Sea" he was already awarded a silver medal of the second denomination. And in 1837, at an academic exhibition, he showed six paintings that were highly appreciated by the public and the Council of the Academy of Arts, which decided: "As the first senior academician, Gaivazovsky (the artist changed his surname Gaivazovsky to Aivazovsky in 1841) was awarded for excellent success in painting sea views of the gold medal of the first degree, with which the right to travel to foreign lands for improvement is associated. For his youth, he was sent in 1838 for two years to the Crimea for independent work.

During his two-year stay in the Crimea, Aivazovsky painted a number of paintings, among which were beautifully executed works: "Moonlight Night in Gurzuf" (1839), "Seashore" (1840) and others.

The first works of Aivazovsky testify to a careful study of the late work of the famous Russian artist S.F. Shchedrin and landscapes by M.N. Vorobyov.

In 1839, Aivazovsky took part as an artist in a naval campaign to the shores of the Caucasus. On board a warship, he met famous Russian naval commanders: M.P. Lazarev and the heroes of the future defense of Sevastopol, in those years, young officers, V.A. Kornilov, P.S. Nakhimov, V.N. Istomin. With them he maintained friendly relations throughout his life. The courage and courage shown by Aivazovsky in a combat situation during the landing in Subash caused sympathy for the artist among the sailors and a corresponding response in St. Petersburg. This operation is captured by him in the painting "Landing in Subashi".

Aivazovsky went abroad in 1840 as an established seascape master. The success of Aivazovsky in Italy and the European fame that accompanied him during a business trip brought romantic seascapes "Storm", "Chaos", "Neapolitan Night" and others. This success was perceived at home as a well-deserved tribute to the talent and skill of the artist.

In 1844, two years ahead of schedule, Aivazovsky returned to Russia. Here, for outstanding success in painting, he was awarded the title of academician and entrusted with an "extensive and complex order" - to paint all Russian military ports on the Baltic Sea. The Naval Department awarded him the honorary title of artist of the Main Naval Staff with the right to wear the Admiralty uniform.

During the winter months of 1844/45, Aivazovsky completed a government order and created a number of beautiful marinas. In the spring of 1845, Aivazovsky set off with Admiral Litke on a journey to the shores of Asia Minor and the islands of the Greek archipelago. 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. At the end of the journey, Aivazovsky stayed in the Crimea, starting to build a large art workshop and a house in Feodosia on the seashore, which from that time became the place of his permanent residence. And thus, despite the success, recognition and numerous orders, the desire of the imperial family to make him a court painter, Aivazovsky left Petersburg.

During his long life, Aivazovsky made a number of trips: several times he visited Italy, Paris and others. European cities, worked in the Caucasus, sailed to the shores of Asia Minor, was in Egypt, and at the end of his life, in 1898, made a long journey to America. During sea voyages, he enriched his observations, and drawings accumulated in his folders. But wherever Aivazovsky was, he was always attracted to the native shores of the Black Sea.

Aivazovsky's life proceeded calmly in Feodosia, without any bright events. In winter, he usually went to St. Petersburg, where he arranged exhibitions of his works.

Despite the seemingly closed, solitary lifestyle in Feodosia, Aivazovsky remained close to many prominent figures of Russian culture, meeting with them in St. Petersburg and receiving them in his Feodosia house. So, back in the second half of the 30s in St. Petersburg, Aivazovsky became close to the remarkable figures of Russian culture - K.P. Bryullov, M.I. Glinka, V.A. Zhukovsky, I.A. Krylov, and during his trip to Italy in 1840 he met N.V. Gogol and artist A.A. Ivanov.

Aivazovsky's painting of the forties and fifties was marked by a strong influence of the romantic traditions of K.P. Bryullov, which affected not only the skill of painting, but also the very understanding of art and the worldview of Aivazovsky. Like Bryullov, he strives to create grandiose colorful canvases that can glorify Russian art. With Bryullov, Aivazovsky is related by brilliant painting skills, virtuoso technique, speed and courage of performance. This was very clearly reflected in one of the early battle paintings "Chesme Battle", written by him in 1848, dedicated to an outstanding naval battle.

After the Chesme battle took place in 1770, Orlov wrote in his report to the Admiralty College: "... Honor to the All-Russian fleet. From June 25 to June 26, the enemy fleet (we) attacked, defeated, broke, burned, let it into the sky, into ashes turned ... and they themselves began to be dominant in the entire archipelago ... "The pathos of this report, pride in the outstanding feat of Russian sailors, the joy of the victory achieved was perfectly conveyed by Aivazovsky in his picture. At the first glance at the picture, we are seized by a feeling of joyful excitement as from a festive spectacle - a brilliant firework. And only with a detailed examination of the picture becomes clear the plot side of it. The fight is depicted at night. In the depths of the bay, burning ships of the Turkish fleet are visible, one of them at the time of the explosion. Enveloped in fire and smoke, the wreckage of the ship is flying into the air, which has turned into a huge blazing bonfire. And on the side, in the foreground, the flagship of the Russian fleet rises in a dark silhouette, to which, saluting, a boat approaches with the team of Lieutenant Ilyin, who blew up his firewall among the Turkish flotilla. And if we get closer to the picture, we will distinguish on the water the wreckage of Turkish ships with groups of sailors calling for help, and other details.

Aivazovsky was the last and most prominent representative of the romantic trend in Russian painting, and these features of his art were especially evident when he painted sea battles full of heroic pathos; they could hear that "battle music", without which the battle picture is devoid of emotional impact.

But the spirit of epic heroism is fanned not only by Aivazovsky's battle paintings. His best romantic works of the second half of the 40-50s are: "Storm on the Black Sea" (1845), "St. George's Monastery" (1846), "Entrance to the Sevastopol Bay" (1851).

The romantic features were even brighter in the painting "The Ninth Wave", painted by Aivazovsky in 1850. Aivazovsky depicted an early morning after a stormy night. The first rays of the sun illuminate the raging ocean and a huge "ninth wave", ready to fall on a group of people seeking salvation on the wreckage of the masts.

The viewer can immediately imagine what a terrible thunderstorm passed at night, what a disaster the ship's crew suffered and how the sailors died. Aivazovsky found the exact means to depict the greatness, power and beauty of the sea. Despite the drama of the plot, the picture does not leave a gloomy impression; on the contrary, it is full of light and air and is all permeated with the rays of the sun, giving it an optimistic character. This is largely facilitated by the color structure of the picture. It is written in the brightest colors of the palette. Its coloring includes a wide range of shades of yellow, orange, pink and purple in the sky, combined with green, blue and purple in the water. The bright, major colorful scale of the picture sounds like a joyful hymn to the courage of people who defeat the blind forces of a terrible, but beautiful element in its formidable grandeur.

This picture found a wide response at the time of its appearance and remains to this day one of the most popular in Russian painting.

The image of the raging sea elements excited the imagination of many Russian poets. This is clearly reflected in the verses of Baratynsky. Readiness to fight and faith in the final victory are heard in his poems:

So now, ocean, I long for your storms -
Worry, rise to the stone edges,
He amuses me, your formidable, wild roar,
Like the call of a long-desired battle,
As a powerful enemy, I have something flattering anger ...

Thus, the sea also entered the formed consciousness of the young Aivazovsky. The artist managed to embody in marine painting the feelings and thoughts that agitated the progressive people of his time, and to give a deep meaning and significance to his art.

Aivazovsky had his own established system of creative work. “A painter who only copies nature,” he said, “becomes her slave ... The movements of the living elements are elusive for the brush: writing lightning, a gust of wind, a splash of a wave is unthinkable from nature ... An artist must memorize them ... The plot of the paintings is formed in my memory, as at the poet; having made a sketch on a piece of paper, I get to work and until then I do not leave the canvas until I express myself on it with a brush ... "

The comparison of the methods of work of the artist and the poet is not accidental here. The formation of Aivazovsky's work was greatly influenced by the poetry of A.S. Pushkin, therefore, Pushkin's stanzas often appear in our memory before Aivazovsky's paintings. creative imagination Aivazovsky in the process of work was not constrained by anything. Creating his works, he relied only on his truly extraordinary visual memory and poetic imagination.

Aivazovsky possessed an exceptionally versatile talent, which happily combined qualities that are absolutely necessary for a marine painter. In addition to the poetic mindset, he was gifted with an excellent visual memory, a vivid imagination, an absolutely accurate visual susceptibility and a firm hand that kept up with the rapid pace of his creative thought. This allowed him to work, improvising with ease that amazed many contemporaries.

V.S. Krivenko very well conveyed his impressions of Aivazovsky's work on a large canvas that came to life under the master's brush: "... By the ease, apparent ease of hand movement, by the satisfied expression on his face, one could safely say that such work is a real pleasure." This, of course, was possible thanks to a deep knowledge of the various techniques that Aivazovsky used.

Aivazovsky had a long creative experience, and therefore, when he painted his paintings, technical difficulties did not stand in his way, and his pictorial images appeared on canvas in all the integrity and freshness of the original artistic conception.

For him, there were no secrets in how to write, how to convey the movement of a wave, its transparency, how to depict a light, scattering network of falling foam on the bends of the waves. He perfectly knew how to convey the roll of the waves on the sandy shore, so that the viewer could see the coastal sand shining through the foamy water. He knew many techniques for depicting waves breaking on coastal rocks.

Finally, he deeply comprehended the various states of the air environment, the movement of clouds and clouds. All this helped him brilliantly embody his pictorial ideas and create bright, artistically executed works.

The fifties are associated with the Crimean War of 1853-56. As soon as Aivazovsky heard rumors about the Battle of Sinop, 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 the Sinop battle at night and during the day. The exhibition was visited by Admiral Nakhimov; highly appreciating the work of Aivazovsky, especially night fight, he said: "The picture is extremely well done." Having visited the besieged Sevastopol, Aivazovsky also painted a number of paintings dedicated to the heroic defense of the city.

Many times later Aivazovsky returned to the depiction of naval battles; his battle paintings are distinguished by historical truth, accurate depiction of ships and understanding of the tactics of naval combat. Pictures of Aivazovsky's naval battles have become a chronicle of the exploits of the Russian Navy, they have found a vivid reflection historic victories of the Russian fleet, the legendary exploits of Russian sailors and naval commanders ["Peter I on the coast of the Gulf of Finland" (1846), "Chesme battle" (1848), "Navarin battle" (1848), "Brig" Mercury "is fighting with two Turkish ships" (1892) and others].

Aivazovsky had a lively, responsive mind, and in his work one can find paintings on a wide variety of topics. Among them are images of the nature of Ukraine, from a young age he fell in love with the boundless Ukrainian steppes and inspired them in his works ["Chumatsky convoy" (1868), "Ukrainian landscape" (1868) and others], while coming close to the landscape of the masters of Russian ideological realism . Aivazovsky's closeness to Gogol, Shevchenko, Sternberg played a role in this attachment to Ukraine.

The sixties and seventies are considered to be the heyday of Aivazovsky's creative talent. During these years he created a number of wonderful paintings. Storm at Night (1864), Storm on the North Sea (1865) are among the most poetic paintings by Aivazovsky.

Depicting the wide expanses of the sea and sky, the artist conveyed nature in living movement, in the endless variability of forms: either in the form of gentle, calm calms, or in the form of a formidable, raging element. With the intuition of an artist, he comprehended the hidden rhythms of the movement of the sea wave and, with inimitable skill, was able to convey them in fascinating and poetic images.

The year 1867 is associated with a major event of great social and political significance - the uprising of the inhabitants of the island of Crete, which was in the vassal possession of the Sultan. This was the second (during the life of Aivazovsky) rise in the liberation struggle of the Greek people, which caused a wide sympathetic response among the progressive thinking people all over the world. Aivazovsky responded to this event with a large cycle of paintings.

In 1868 Aivazovsky undertook a journey to the Caucasus. He painted the foothills of the Caucasus with a pearl chain of snowy mountains on the horizon, panoramas of mountain ranges stretching into the distance like petrified waves, the Darial Gorge and the village of Gunib, lost among the rocky mountains, the last nest of Shamil. In Armenia, he painted Lake Sevan and the Ararat Valley. He created several beautiful paintings depicting the Caucasus Mountains from the eastern coast of the Black Sea.

The following year, 1869, Aivazovsky went to Egypt to participate in the opening ceremony of the Suez Canal. As a result of this trip, a panorama of the canal was painted and a number of paintings were created reflecting the nature, life and life of Egypt, with its pyramids, sphinxes, camel caravans.

In 1870, when the fiftieth anniversary of the discovery of Antarctica by Russian navigators F.F. Bellingshausen and M.P. Lazarev, Aivazovsky painted the first picture depicting polar ice - " ice mountains". During the celebration of Aivazovsky on the occasion of the fiftieth anniversary of his work, P.P. Semenov-Tyan-Shansky said in his speech: "The Russian Geographical Society has long recognized you, Ivan Konstantinovich, as an outstanding geographical figure ..." and indeed, many of Aivazovsky's paintings combine artistic merit and great educational value.

In 1873, Aivazovsky created an outstanding painting "Rainbow". In the plot of this picture - a storm at sea and a ship dying near a rocky shore - there is nothing unusual for Aivazovsky's work. But its colorful range, picturesque execution was a completely new phenomenon in Russian painting of the seventies. Depicting this storm, Aivazovsky showed it as if he himself was among the raging waves. A hurricane blows the mist off their crests. As if through a rushing whirlwind, the silhouette of a sinking ship and the indistinct outlines of a rocky shore are barely visible. The clouds in the sky dissolved into a transparent wet shroud. Through this chaos, a stream of sunlight made its way, laying down like a rainbow on the water, giving the color of the picture a multi-colored coloring. The whole picture is written in the finest shades of blue, green, pink and purple colors. The same tones, slightly enhanced in color, convey the rainbow itself. It flickers with a barely perceptible mirage. From this, the rainbow acquired that transparency, softness and purity of color, which always delights and enchants us in nature. The painting "Rainbow" was a new, higher level in the work of Aivazovsky.

Regarding one of these paintings by Aivazovsky F.M. Dostoevsky wrote: "The storm ... of Mr. Aivazovsky ... is amazingly good, like all his storms, and here he is a master - without rivals ... In his storm there is rapture, there is that eternal beauty that amazes the viewer in a living, real storm ..."

In the work of Aivazovsky in the seventies, one can trace the appearance of a number of paintings depicting the open sea at noon, painted in blue colors. The combination of cold blue, green, gray tones gives the feeling of a fresh breeze, raising a cheerful swell on the sea, and the silver wing of a sailboat, foaming a transparent, emerald wave, involuntarily awakens the poetic image of Lermontov:

A lonely sail turns white ...

All the charm of such paintings lies in the crystal clarity, sparkling radiance that they radiate. No wonder this cycle of paintings is called "blue Aivazovsky". A large place in the composition of Aivazovsky's paintings is always occupied by the sky, which he was able to convey with the same perfection as the sea element. The ocean of air - the movement of air, the variety of outlines of clouds and clouds, their formidable rapid run during a storm or the softness of radiance in the pre-sunset hour of a summer evening, sometimes in themselves created the emotional content of his paintings.

The night marinas of Aivazovsky are unique. "Moonlit night on the sea", "Moonrise" - this theme runs through all of Aivazovsky's work. The effects of moonlight, the moon itself, surrounded by light transparent clouds or peering through clouds torn by the wind, he was able to depict with illusory accuracy. The images of the night nature of Aivazovsky are one of the most poetic images of nature in painting. Often they evoke poetic and musical associations.

Aivazovsky was close to many Wanderers. The humanistic content of his art and brilliant craftsmanship were highly valued by Kramskoy, Repin, Stasov and Tretyakov. In terms of public importance art, Aivazovsky and the Wanderers had much in common. Long before organization traveling exhibitions Aivazovsky began to arrange exhibitions of his paintings in St. Petersburg, Moscow, as well as in many other large cities of Russia. In 1880, Aivazovsky opened in Feodosia the first in Russia peripheral art gallery.

Under the influence of the advanced Russian art of the Wanderers, realistic features appeared with special force in the work of Aivazovsky, which made his works even more expressive and meaningful. Apparently, therefore, it has become customary to consider Aivazovsky's paintings of the seventies the highest achievement in his work. Now the process is completely clear to us. continuous growth his skill and deepening the content of the pictorial images of his works, which proceeded throughout his life.

In 1881, Aivazovsky created one of the most significant works - the painting "Black Sea". The sea is depicted on an overcast day; waves, arising at the horizon, move towards the viewer, creating by their alternation a majestic rhythm and sublime structure of the picture. It is written in a stingy, restrained color scheme that enhances its emotional impact. No wonder Kramskoy wrote about this work: "This is one of the most grandiose paintings that I know." The picture testifies that Aivazovsky was able to see and feel the beauty of the sea element close to him, not only in external pictorial effects, but also in the barely perceptible strict rhythm of her breathing, in her clearly perceptible potential power.

Stasov wrote about Aivazovsky many times. He did not agree with much in his work. He especially violently rebelled against the improvisational method of Aivazovsky, against the ease and speed with which he created his paintings. And yet, when it was necessary to give a general, objective assessment of Aivazovsky's art, he wrote: "The marine painter Aivazovsky, by birth and by nature, was an absolutely exceptional artist, vividly feeling and independently conveying, perhaps, like no one else in Europe, water with its extraordinary beauties."

Life and work (part 5)
Aivazovsky's life was absorbed by a huge creative work. His creative path is a continuous process of improving painting skills. At the same time, it should be noted that it was in the last decade that the bulk of Aivazovsky's unsuccessful works fell. This can be explained both by the age of the artist and by the fact that just at that time he began to work in genres that were not characteristic of his talent: portrait and everyday painting. Although among this group of works there are things in which the hand of a great master is visible.

Take, for example, not big picture"Wedding in Ukraine" (1891). A cheerful village wedding is depicted against the backdrop of the landscape. At the hut, covered with straw, there is a festivity. A crowd of guests, young musicians - all poured into the air. And here, in the shade of large spreading trees, the dance continues to the sounds of a simple orchestra. All this motley mass of people is very successfully inscribed in the landscape - wide, clear, with a beautifully depicted high cloudy sky. It is hard to believe that the painting was created by a marine painter, so the entire genre part of it is depicted easily and simply.

Until old age, until the last days of his life, Aivazovsky was full of new ideas that excited him as if he were not an eighty-year-old highly experienced master who painted six thousand paintings, but a young, novice artist who had just embarked on the path of art. For the lively active nature of the artist and the preserved unblunted feelings, his answer to the question of one of his friends is characteristic: which of all the paintings painted by the master himself considers the best. “The one,” Aivazovsky answered without hesitation, “that stands on the easel in the workshop, which I began to paint today ...”

In his correspondence of recent years there are lines that speak of the deep excitement that accompanied his work. At the end of a large business letter in 1894 there are these words: "Forgive me for writing on pieces (of paper). I am painting a big picture and am terribly worried." In another letter (1899): "I have written a lot this year. 82 years make me hurry ..." He was at the age when he was clearly aware that his time was running out, but he continued to work with ever-increasing energy.

AT last period creativity Aivazovsky repeatedly refers to the image of A.S. Pushkin ["Pushkin's Farewell to the Black Sea" (1887), the figure of Pushkin was painted by I.E. Repin, "Pushkin at the Gurzuf Rocks" (1899)], in whose verses the artist finds a poetic expression of his attitude to the sea.

At the end of his life, Aivazovsky was absorbed in the idea of ​​creating a synthetic image of the sea element. In the last decade, he has been painting a number of huge paintings depicting a stormy sea: "Collapse of the Rock" (1883), "Wave" (1889), "Storm on the Sea of ​​Azov" (1895), "From Calm to Hurricane" (1895) and others. Simultaneously with these huge paintings, Aivazovsky painted a number of works close to them in concept, but distinguished by a new colorful range, extremely sparse in color, almost monochrome. Compositionally and subjectively, these paintings are very simple. They depict rough surf on a windy winter day. A wave has just broken on the sandy shore. Seething masses of water, covered with foam, rapidly run into the sea, taking with them pieces of mud, sand and pebbles. Another wave rises towards them, which is the center of the composition of the picture. To enhance the impression of a growing movement, Aivazovsky takes a very low horizon, which is almost touched by the crest of a large impending wave. Away from the shore, in the roadstead, ships with tucked sails, anchored, are depicted. A heavy leaden sky hung over the sea in thunderclouds. The generality of the content of the paintings of this cycle is obvious. All of them are essentially variants of the same story, differing only in details. This significant cycle of paintings is united not only by a common plot, but also by a color system, a characteristic combination of a lead-gray sky with an olive-ocher color of water, slightly touched by greenish-blue glazing near the horizon.

Such a simple and at the same time very expressive color scheme, the absence of any bright external effects, and a clear composition create a deeply truthful image of the sea surf on a stormy winter day. At the end of his life, Aivazovsky painted quite a few paintings in gray colors. Some were small; they are written within one or two hours and are marked by the charm of the inspired improvisations of a great artist. The new cycle of paintings had no less merit than his "blue marinas" of the seventies.

Finally, in 1898, Aivazovsky painted the painting "Among the Waves", which was the pinnacle of his work.

The artist depicted a raging element - a stormy sky and a stormy sea covered with waves, as if boiling in collision with one another. He abandoned the usual details in his paintings in the form of fragments of masts and dying ships lost in the boundless sea. He knew many ways to dramatize the plots of his paintings, but did not resort to any of them while working on this work. "Among the Waves" seems to continue to reveal in time the content of the painting "Black Sea": if in one case an agitated sea is depicted, in the other it is already raging, at the moment of the highest formidable state of the sea element. The mastery of the painting "Among the Waves" is the fruit of a long and hard work of the artist's entire life. Work on it proceeded quickly and easily. Obedient to the hand of the artist, the brush sculpted exactly the form that the artist wanted, and laid the paint on the canvas in the way that the experience of skill and the intuition of a great artist, who did not correct the once put brushstroke, prompted him. Apparently, Aivazovsky himself was aware that the painting "Among the Waves" was much higher in terms of execution of all previous works of recent years. Despite the fact that after its creation, he worked for another two years, arranged exhibitions of his works in Moscow, London and St. Petersburg, he did not take this painting out of Feodosia, he bequeathed it, along with other works that were in his art gallery, to his native city of Feodosia.

The painting "Among the Waves" did not exhaust the creative possibilities of Aivazovsky. The following year, 1899, he painted a small picture, beautiful in clarity and freshness of color, built on a combination of bluish-green water and pink in the clouds - "Calm near the Crimean coast." And literally in the last days of his life, preparing for a trip to Italy, he painted the painting "Gulf of the Sea", depicting the Gulf of Naples at noon, where humid air is conveyed with captivating subtlety in pearly colors. Despite the very small size of the picture, the features of new coloristic achievements are clearly distinguishable in it. And, perhaps, if Aivazovsky had lived for a few more years, this picture would have become a new step in the development of the artist's skill.

Life and work (part 6)
Speaking about the work of Aivazovsky, one cannot help but dwell on the great graphic heritage left by the master, because his drawings are of great interest both from the side of their artistic execution, and for understanding the artist's creative method. Aivazovsky always painted a lot and willingly. Among pencil drawings distinguished by their mature craftsmanship are works dating back to the forties, by the time of his academic assignment of 1840-1844 and sailing off the coast of Asia Minor and the Archipelago in the summer of 1845. The drawings of this pore are harmonious in terms of the compositional distribution of masses and are distinguished by a strict elaboration of details. Large sheet sizes and graphic completeness speak of great importance, which Aivazovsky attached to drawings made from nature. These were mostly images of coastal cities. With sharp hard graphite, Aivazovsky painted city buildings clinging to the ledges of mountains, receding into the distance, or individual buildings he liked, arranging them into landscapes. Using the simplest graphic means - a line, almost without using chiaroscuro, he achieved the finest effects and accurate transmission of volume and space. The drawings he made during his travels always helped him in creative work.

In his youth, he often used drawings to compose paintings without any changes. Later, he freely processed them, and often they served him only as the first impetus for the implementation of creative ideas. The second half of Aivazovsky's life includes a large number of drawings made in a free, broad manner. In the last period of his creative work, when Aivazovsky made sketches of his travels, he began to draw freely, reproducing with a line all the curves of the form, often barely touching the paper with a soft pencil. His drawings, having lost their former graphic rigor and distinctness, acquired new pictorial qualities.

As Aivazovsky's creative method crystallized and vast creative experience and skill accumulated, a noticeable shift took place in the artist's work, which affected his preparatory drawings. Now he creates a sketch of the future work from his imagination, and not from a natural drawing, as he did in the early period of creativity. Not always, of course, Aivazovsky was immediately satisfied with the solution found in the sketch. There are three versions of the sketch for his latest painting "Explosion of the ship". He strove for the best composition solution even in the drawing format: two drawings were made in a horizontal rectangle and one in a vertical one. All three are made with a cursory stroke, conveying the scheme of the composition. Such drawings, as it were, illustrate the words of Aivazovsky related to the method of his work: "Having sketched a plan of the picture I conceived with a pencil on a piece of paper, I set to work and, so to speak, give myself to it with all my heart." Aivazovsky's graphics enrich and expand our familiar understanding of his work and his peculiar method of work.

For graphic works, Aivazovsky used a variety of materials and techniques.

The sixties include a number of finely painted watercolors, made in one color - sepia. Using usually a light filling of the sky with highly diluted paint, barely outlining the clouds, slightly touching the water, Aivazovsky laid out the foreground widely, in a dark tone, painted the mountains of the background and painted a boat or ship on the water in a deep sepia tone. With such simple means, he sometimes conveyed all the charm of a bright sunny day on the sea, the rolling of a transparent wave on the shore, the radiance of light clouds over the deep sea distance. In terms of the height of skill and subtlety of the transmitted state of nature, such sepia by Aivazovsky go far beyond the usual idea of ​​watercolor sketches.

In 1860, Aivazovsky painted this kind of beautiful sepia "The Sea after the Storm." Aivazovsky was apparently satisfied with this watercolor, as he sent it as a gift to P.M. Tretyakov. Aivazovsky widely used coated paper, drawing on which he achieved virtuoso skill. These drawings include "The Tempest", created in 1855. The drawing was made on paper, tinted in the upper part with warm pink, and in the lower part with steel gray. With various methods of scratching the tinted chalk layer, Aivazovsky well conveyed the foam on the crests of the wave and the glare on the water.

Aivazovsky also masterfully drew with pen and ink.

Aivazovsky survived two generations of artists, and his art covers a huge period of time - sixty years of creativity. Starting with works saturated with vivid romantic images, Aivazovsky came to a penetrating, deeply realistic and heroic image of the sea element, creating the painting "Among the Waves".

Before last day he happily retained not only an unblunted vigilance of the eye, but also a deep faith in his art. He went his way without the slightest hesitation and doubt, retaining the clarity of feelings and thinking until old age.

Aivazovsky's work was deeply patriotic. His merits in art were noted all over the world. He was elected a member of five Academies of Arts, and his admiralty uniform was studded with honorary orders from many countries.

The remarkable marine painter Ivan Konstantinovich Aivazovsky, as you know, was born Feodosia into an Armenian family with Konstantin and Hripsime Aivazovsky on July 29, 1817, if in Armenian the surname sounds more accurately like Ayvazyan, although in everyday life and in documents the father's surname could sound Gayvazovsky.

From early childhood, the young Aivazovsky showed inclinations towards art, as a self-taught he learned to play the violin and, of course, was very fond of drawing. The local architect Koh Y.Kh. drew attention to the abilities of the young talent, who taught the boy some basics of drawing and painting.

The talent to draw was noticed by the then governor of Taurida Kaznacheev A.I., who took care of enrolling the young talent in 1831 in the Taurida Gymnasium,

Successes in drawing Aivazovsky were revealed more and more, rumors about a young talent reached the mayor of Feodosia, who helped arrange a young man graduating from a district school in a more authoritative institution in a gymnasium in the city of Simferopol. Having studied with success for some time in this institution, with the help of a drawing teacher of the German artist I.L. and Gross, who appreciated the young talent in Aivazovsky, sends him to St. Petersburg to the Academy of Arts and there young artist enrolled to study in 1833, where his work was appreciated by the artist K. P. Bryullov, the writer A. S. Pushkin spoke very flatteringly about the artist.

At the Academy, Aivazovsky stubbornly develops his skills and in 1835 work was completed with the painting View of the seaside near St. Petersburg and the air above the sea, for these first works the artist was awarded a silver medal. further development the young marine painter is sent to the famous French artist F. Tanner.

After graduating from the academy with a big gold medal, he received the right to travel to his native Crimea, where he works fruitfully, writes sketches for Feodosia, Yalta, Sevastopol, Gurzuf. To continue improving his work, Aivazovsky, along with other artists of the academy, in 1840 went to Italy, Rome, visited Venice, Florence, Naples. He gets acquainted with world European art in various museums in Europe and works fruitfully.

After some time, Aivazovsky becomes a very famous marine painter in Europe. He was awarded the title of academician of the Roman, Amsterdam and Paris Academy of Arts. Returning to his homeland in 1844 as a recognized master at the age of 27, he was awarded the title of academician in Russia as well.

Tanner's character was not simple, strict, teaching Aivazovsky some secrets of craftsmanship, he forbade him any freethinking in creating off-topic works, nevertheless, Aivazovsky was drawn to the subject of his paintings and, secretly from a strict teacher, creates 5 works in 1837 and boldly exhibits them at the Academy of Fine Arts, which received positive reviews.

For disobedience, the artist Philip Tanner appeals to Tsar Nicholas 1 with a complaint about his student, respectively, the king, respecting Tanner, orders Aivazovsky's paintings to be removed from the exhibition and the artist to be punished. This moment was, of course, not pleasant for the young marine painter, six long months passed after this tricky incident, when everything was forgotten, he was finally forgiven for his past non-academic behavior and was sent to the department of battle painting to study closer to Aivazovsky, this is marine painting from the military topics under the guidance of Professor A.I. Sauerweid.

In this class, the artist reveals himself with even greater success by 1837, he completes his seascape called Calm, the picture receives many reviews, looking at this, Ivan Aivazovsky is awarded the Big Gold Medal at the academy, it was the dream of all students of the academy. In addition to the medal, he earned the right to visit his native Crimea and a trip to Europe.

In Crimea, Aivazovsky continues to be creative, paints a number of his favorite seascapes, he is invited to participate in hostilities, where the artist observes the landing of an amphibious assault on the Shakh River in Cherkessia and creates sketches for a future painting of the Landing Detachment in the Subashi Valley, subsequently bought by the tsar. In 1839, Aivazovsky graduated from the art academy and received the title of nobleman.

In the artist's extensive biography, a lot is connected with Turkey, where Aivazovsky's rare talent was highly appreciated.

In 1845, Aivazovsky visited Turkey as part of a geographical expedition led by F. P. Litke. The artist visited Istanbul, which impressed the artist with its unusual beauty. The artist visited this city again in 1856, he is received as a dear guest by Sultan Abdul-Mejid 1st himself, who was an admirer of the artist’s talent, who had the work of Ivan Konstantinovich in his art gallery. Encouraged by the reception, the Sultan awarded the artist with the honorary order of Nishan Ali.

In his creative way Aivazovsky created many paintings with Turkish themes, Turkish artists studied from his works, the authority of the artist in Turkey was huge, one of the works was given as a gift from friends to Sultan Abdulaziz, under the great impression of the picture he made a good commercial order for the artist to paint a dozen landscape canvases with spectacular views of the Bosphorus and Istanbul. The Sultan simply doted on this master of landscape, often invited him to the palace, and subsequently the artist painted about 20 additional works. The Turkish Padishah himself awarded him with an expensive Turkish award - the Order of Osmania, 2nd degree. A little later in a year, Aivazovsky will prepare new landscape works as a gift with a Russian theme Winter in Moscow and a painting View of St. Petersburg from the Holy Trinity Bridge.

As you know, Russia often fought with Turkey, but at this stage in 1878, the war was stopped and a peace treaty was signed, paintings by Ivan Aivazovsky hung in the halls of the Turkish palace, this exhibition beneficially contributed to the spirit of peaceful relations between the two sides. also in honor of peace and friendship, paintings belonging to Turkish collectors were exhibited in Russia and this time the artist was awarded a diamond medal by Sultan Abdul Hamid II himself. and in 1847 he was awarded the honorary title of professor at the Academy of Arts in St. Petersburg. One of the works of that period can be singled out in 1848, the Battle of Chesme with a characteristic naval battle. But the military theme of the works was sometimes replaced by lyrical canvases of the elements of the sea in 1849 A storm on the sea at night

In 1950, the artist again surprises his contemporaries with an unexpected next masterpiece The Ninth Wave, the work did not leave anyone indifferent, some historians and biographers compared it with the storm seen by Aivazovsky himself, from which he managed to escape alive and unharmed. Although newspapers about the death of the marine painter were already printed in the capital and in the European press, as we see, everything worked out and the master of picturesque sea elements continued to create and delight the public with his masterpieces. In 1853, canvases come out from under the artist's brush: Painting by Aivazovsky Moonlight Night. Bath in Feodosia, with a very beautiful sunset Sea. Koktebel bay

The 60s and 70s of the 19th century can be safely called the full flowering of Aivazovsky's work. The abundance of paintings about the sea, among these works are noticeable: The Flood, Moonlit night in Constantinople 1862, View of Odessa from the sea 1865, Sea view 1867, In the storm 1872, Rainbow 1873, Night. Blue Wave 1876 and other works.

In the early 80s, the artist creates a number of paintings, among which one of his most notable canvases is the Black Sea painting. Despite the fact that the picture is painted in restrained colors and the sea is reflected on a cloudy day, nevertheless, the picture received many positive reviews. Kramskoy himself noted the picture as the most grandiose in the artist's work. One of the most beautiful works of the still sea in 1885 Calm

Working until the end of the 19th century, Aivazovsky’s artist never ceases to amaze the then public with all new works in the 90s, his talent does not weaken during this period, the paintings Storm of 1897, a large-scale work Among the Waves of 1898 and the painting In the Storm of 1899 were created

In the spring of 1900, in April, the artist created another painting, The Explosion of a Ship, but the painting was never finished; on April 19, 1900, the artist died in his studio. Now his workshop in Feodosia is the home of the Aivazovsky Museum

During his creative history, Aivazovsky created more than six thousand paintings, many paintings were bought by Russian patrons, various collectors from many countries of the world. His canvases are still sold and valued in huge sums today, all this speaks of the unique talent of a marine landscape painter, who to this day has no equal

Famous paintings by Ivan Aivazovsky:

Naval Battle of Navarino 1827
View of the seaside in the vicinity of St. Petersburg 1835
Night. Smugglers 1836
Windmill on the seashore 1837
Seashore 1840
Bay of Naples 1841
amulet in Amalfi 1841
Venice 1842
Gondolier at sea at night 1843
1843 shipwreck
Mkhitarists on the island of St. Lazarus 1843
View of Feodosia 1845
Sea view with chapel 1845
Escaping a shipwreck in 1844
Georgievsky Monastery. Cape Fiolent 1846
Naval Battle of Revel (May 9, 1790) 1846
Tower. 1847 shipwreck
Chesme battle 1848
Ninth Wave 1850
Storm of 1850
Battle of Sinop 1853
Storm over Evpatoria 1861
global flood 1864
Black Sea at night 1870
In the storm of 1872
Black Sea 1881
Surf 1895
Storm off the coast of Odessa 1898

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

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

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

Famous paintings by Ivan Konstantinovich Aivazovsky

The most interesting for you!

Family and hometown

Ivan's father was a sociable, enterprising and capable person. For a long time he lived in Galicia, later moved to Wallachia (modern Moldova). Perhaps for some time he traveled with a gypsy camp, because Konstantin spoke gypsy. In addition to him, by the way, this most curious person 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 turned into a busy shopping center with a population of several thousand people.

From all over the south of the Russian Empire, goods were delivered to the port of Feodosia, and goods from sunny Greece and bright Italy went 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 housing - a small house built upon arrival in the city became cramped.

But soon the Patriotic War of 1812 began, and after it the plague came to the city. At the same time, another son, Gregory, was born in the family. The affairs of Konstantin went down sharply, he went bankrupt. The need was so great that almost all valuable things had to be sold from the house. The father of the family took up litigious affairs. 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 her 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 already at the age of 10, Hovhannes went to work in a coffee shop. By that time, the older brother had gone to study in Venice, and the middle one was just getting an education at the district school.

Despite the work, the soul of the future artist really blossomed in the beautiful southern city. Not surprising! Theodosius, despite all the efforts of fate, did not want to lose her brightness. Armenians, Greeks, Turks, Tatars, Russians, Ukrainians - a hodgepodge of traditions, customs, languages ​​created a colorful backdrop for Feodosian life. But in the foreground was, of course, the sea. It is it that brings the very flavor that no one will be able to recreate artificially.

Vanya Aivazovsky's Incredible Luck

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

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

The next three years were an important milestone in the life of Aivazovsky. While studying at the Lyceum, he was distinguished from others by an absolutely unimaginable talent for drawing. It was hard for the boy - the longing for his relatives and, of course, the sea affected. But he kept old acquaintances and made new, no less useful ones. First, Kaznacheev was transferred to Simferopol, and later Ivan became a member of 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.

The noble patrons of Aivazovsky's talent decided to apply for his admission to the St. Petersburg Academy of Arts, sent the best drawings to the capital. After reviewing them, the President of the Academy, Alexei Nikolayevich Olenin, wrote to the Minister of the Court, Prince Volkonsky:

“The young Gaivazovsky, judging by his drawing, has an extraordinary disposition for composition, but how, while in the Crimea, he could not be prepared for drawing and painting there, so as not only to be sent to foreign lands and study there without guidance, but even so, in order to enter the full-time academicians of the Imperial Academy of Arts, because on the basis of § 2 of the appendix to its regulations, those who enter must be at least 14 years old.

To draw well, at least from the originals, the human figure, to draw orders of architecture and to have preliminary knowledge in the sciences, then, in order 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 its maintenance and other 600 rubles. from His Majesty's Cabinet so that it can be brought here at public expense.

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

Big city - big opportunities

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

Aivazovsky arrived in St. Petersburg in August. And although he had heard a lot about the terrible dampness and cold of St. Petersburg, none of this was felt in the summer. Ivan spent the whole day walking around the city. 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 evoked genuine admiration from 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 talent he got. Undoubtedly, these creative people were also brought together by music - Maxim Nikiforovich, like his student, also played the violin.

But over time, it became obvious that Aivazovsky outgrew Vorobyov. Then he was sent as a student to the French marine painter Philip Tanner. But Ivan did not get along with the foreigner in character and, due to an illness (either fictional or real), left him. Instead, he began working on a series of paintings for the exhibition. And it must be admitted, the canvases he created are impressive. It was then, in 1835, that he received a silver medal for his works “Etude of the 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 recalcitrant Aivazovsky, saying that why was his student working for himself during his illness? Nicholas I, a well-known adherent of discipline, 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 the baseless disgrace. Olenin, Zhukovsky, and the court painter Sauerweid petitioned for Ivan's forgiveness. Krylov himself personally came to comfort Hovhannes: “What. brother, does the Frenchman offend? Eh, what is he ... Well, God bless him! Do not be sad!..". In the end, justice prevailed - the emperor forgave the young artist and ordered to issue an award.

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

To write ships without the slightest idea about their device is a crime! Ivan did not hesitate to communicate with the sailors, to carry out minor assignments for officers. And in the evenings he played his favorite violin for the team - in the middle of the cold Baltic one could hear the enchanting sound of the Black Sea south.

Charming artist

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

The color of the then intelligentsia gathered in the Tomilovs' house - Mikhail Glinka, Orest Kiprensky, Nestor Kukolnik, Vasily Zhukovsky. Evenings in such a 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 giftedness 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 upright. Glinka even included in his opera "Ruslan and Lyudmila" a small excerpt played by Aivazovsky.

It is known that Aivazovsky was familiar with Pushkin and was very fond of his poetry. The death of Alexander Sergeevich was very painfully perceived by Hovhannes, later he specially came to Gurzuf, exactly to the place where the great poet spent his time. No less important for Ivan was the meeting with Karl Bryullov. Having recently completed work on the canvas “The Last Day of Pompeii”, he arrived in St. Petersburg and each of the students of the Academy 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 the talent of Hovhannes. Nestor Kukolnik devoted a lengthy article to Aivazovsky precisely at Bryullov's insistence. An experienced painter saw that the subsequent studies at the Academy would be rather a regression for Ivan - there were no teachers left who could give something new to the young artist.

He proposed to the Council of the Academy to shorten Aivazovsky's study 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 the Crimea for two years. It is unlikely that Aivazovsky was not happy - he would be at home again!

Relaxation…

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, goes to the sea. Here he can feel that mood, that elusive excitement that the Black Sea caused in him from an early age.

Soon the retired Treasurers came to visit the Aivazovskys. He, along with his parents, rejoiced at the success of Hovhannes and first of all asked to see his new drawings. Seeing beautiful works, he immediately took the artist with him on a trip to 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 left for Simferopol, urged the artist to visit, but he again and again upset the benefactor with a refusal - work is above all.

...before the fight!

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

These two people, unlike at first glance, were brought together by love for Pushkin. Aivazovsky, who from an early age admired the poetic genius of Alexander Sergeevich, found a kindred spirit in Raevsky. Long exciting conversations about the poet ended quite unexpectedly - Nikolai Nikolaevich invited Aivazovsky to accompany him on a sea voyage to the shores of the Caucasus and look at the landing of Russian troops. 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, to keep silent about which would be a crime. On the ship Colchis, Aivazovsky met Lev Sergeevich Pushkin, Alexander's brother. Later, when the ship joined the main squadron, Ivan met people who, for the marine painter, were inexhaustible source inspiration.

Switching 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 competent commander, he took a keen interest in Aivazovsky and personally suggested that he switch 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 in their entire lives will not meet even one person of this magnitude. But Aivazovsky has a completely different fate.

Later he was introduced to Pavel Stepanovich Nakhimov, the captain of the Silistria, the future commander of the Russian fleet in the battle of Sinop and the 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 atmosphere was unique. Warm surroundings, beloved Black Sea and graceful ships that could be explored to your heart's content.

But now it's time to land. Aivazovsky personally wanted to take part in it. At the last moment, they discovered that the artist was completely unarmed (of course!) And he was given 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 personally did not observe the battle. A few minutes after the landing, a friend of the artist, midshipman Frederiks, was wounded. Not finding a doctor, Ivan himself assists the wounded man, and then on the boat he is sent to the ship. But upon returning to the shore, Aivazovsky sees that the battle is almost over. He gets to work without a moment's delay. However, let's give the floor to the artist himself, who in the magazine "Kyiv Starina" described the landing almost forty years later - in 1878:

“... The shore illuminated by the setting sun, the forest, the distant mountains, the fleet at anchor, the boats scurrying along the sea maintain communication with the shore ... Having passed the forest, I went to a clearing; here is a picture of rest after a recent combat alarm: groups of soldiers, officers sitting on drums, the corpses of the dead and their Circassian carts who came for cleaning. Having unfolded the briefcase, I armed myself with a pencil and began to sketch one group. At this time, some Circassian unceremoniously took my briefcase from my hands, carried it to show my drawing to his own. Whether the highlanders liked him, I don't know; I only remember that the Circassian returned the drawing to me stained with blood ... This "local color" remained on him, and for a long time I kept this tangible memory of the expedition ... ".

What words! The artist saw everything - the coast, 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 saved him for further achievements. During the vacation, Aivazovsky was still waiting for a trip to the Caucasus, and hard work on turning sketches into real canvases. But he did it with flying colors. As always, though.

Hello Europe!

Returning to St. Petersburg, Aivazovsky received the title of artist of the 14th grade. Education at the Academy ended, Hovhannes outgrew all his teachers and he was given the opportunity to travel around Europe, of course, with state support. He left with a light heart: earnings allowed him to help his parents, and he himself lived quite comfortably. And although at first Aivazovsky was supposed to visit Berlin, Vienna, Trieste, Dresden, he was most drawn to Italy. There was the much-loved South 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 got a unique opportunity to study the works of the great Italian masters. For hours he stood 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 their own, different charm.

And there was no sense of kinship with the earth. But what opportunities for creativity! And Aivazovsky always took advantage of the opportunities provided to him. The level of skill of the artist speaks eloquently remarkable fact: the painting "Chaos" wanted to buy the Pope himself. Someone, but the pontiff is used to getting only the best! The quick-witted artist refused to pay, simply presenting "Chaos" to Gregory XVI. Dad did not leave him without a reward, handing him a gold medal. But the main thing is the effect of a gift in the world of painting - the name of Aivazovsky thundered throughout Europe. For the first time, but not the last time.

In addition to work, however, Ivan had another reason to visit Italy, more precisely Venice. It was there on the island of St. Lazar was lived and worked by his brother Gabriel. Being in the rank of archimandrite, he was engaged in research work and teaching. The meeting of the brothers was warm, Gabriel asked a lot about Theodosius and his parents. But soon they parted. 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, in a foreign land, Ivan managed to find the best representatives of the Russian land!

Exhibitions of paintings by Aivazovsky were also held in Italy. The audience was invariably delighted and keenly interested in this young Russian, who managed to convey all the warmth of the south. Increasingly, Aivazovsky began to be recognized on the streets, people came to his studio and ordered 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 the soul of Aivazovsky. In April 1842, he sends some of the paintings to Peterburg and notifies 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 only asks 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 the gold medal of 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 the heart, the artist visited. The exhibitions were a success and Aivazovsky was unanimously showered with compliments by critics and inexperienced visitors. There was no longer a lack of money, but Aivazovsky lived modestly, giving himself to work to the fullest.

Artist of the Main Naval Staff

Not wanting to drag out his voyage, already in 1844 he returned to St. Petersburg. On July 1, he was awarded the Order of St. Anna, 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 assigned to the Main Naval Staff with the right to wear a uniform! We know with what reverence the sailors treat the honor of the uniform. And here it is worn by a civilian, and even an artist!

Nevertheless, this appointment was welcomed at the Headquarters, and Ivan Konstantinovich (you can already call him that - an artist with a worldwide reputation, after all!) Enjoyed all the possible privileges of this position. He demanded drawings of ships, ship guns fired for him (so that he could better see the trajectory of the nucleus), Aivazovsky even participated in maneuvers in the Gulf of Finland! In a word, he did not just serve the number, but worked diligently and with desire. Naturally, the paintings 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, which was heading to Constantinople. Having visited Turkey, Aivazovsky was struck by the beauties of Istanbul and the beautiful coast of Anatolia. After some time, he returned to Feodosia, where he bought land plot and began to build his house-workshop, which he designed personally. Many do not understand the artist - a favorite of the sovereign, a popular artist, why not live in the capital? Or abroad? Feodosia is a wild wilderness! But Aivazovsky does not think so. He arranges an exhibition of his paintings in a newly built house, on which he works day and night. Many guests noted that despite seemingly homely conditions, Ivan Konstantinovich became haggard and turned pale. But, in spite of everything, Aivazovsky finishes work and goes to St. Petersburg - he is still a serviceman, you can’t treat this irresponsibly!

Love and War

In 1846, Aivazovsky arrived in the capital and stayed there for several years. The reason for this was the permanent exhibitions. With a frequency of six months, they were held either in St. Petersburg or in Moscow in completely different places, either for money or for free. And at each exhibition there was the presence of Aivazovsky. He received thanks, came to visit, accepted gifts and orders. Free time was rare in this hustle and bustle. One of the most famous paintings was created - “The Ninth Wave”.

But it is worth noting that Ivan still went to Feodosia. The reason for this was paramount - 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 surprising is Aivazovsky's chosen one - a simple servant Julia Grace, an Englishwoman, the daughter of a life doctor who served Emperor Alexander.

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

At home, the artist tries to organize an art school, but is denied funding by the emperor. Instead, he and his wife begin archaeological excavations. In 1852, the family is born third daughter - Alexandra. Ivan Konstantinovich does not leave, of course, the work on the paintings. But in 1854, a landing party landed in the Crimea, Aivazovsky hastily takes his family to Kharkov, and he himself returns to the besieged Sevastopol to his old friend Kornilov.

Kornilov orders the artist to leave the city, saving him from possible death. Aivazovsky obeys. The war ends soon. For everyone, but not for Aivazovsky - he will paint brilliant pictures on the theme of the Crimean War for a few more years.

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

Admiral Aivazovsky

But Julia is unhappy. Why does she need medals? Ivan ignores her requests, she does not receive due attention and in 1866 refuses to return to Feodosia. The breakup of the family Aivazovsky experienced hard, and in order to be distracted - everyone goes to work. He paints, travels around the Caucasus, Armenia, devotes all his free time to students of his art academy.

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

A year later, having arranged another exhibition in the capital, Aivazovsky leaves 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 admiring Turkish ruler bestows the Order of Osmaniye of the second degree on Peter Konstantinovich. In 1875, Aivazovsky left Turkey and went to St. Petersburg. But on the way he stops by Odessa to see his wife and children. Realizing that there is no need to wait for warmth from Julia, he invites her to go to Italy with her daughter Jeanne next year. The wife accepts the offer.

During the trip, the spouses visit Florence, Nice, Paris. Julia is pleased to appear with her husband at secular receptions, while Aivazovsky considers this to be secondary and devotes all his free time to work. Realizing that the former marital happiness cannot be returned, Aivazovsky asks the church to break off the marriage, and in 1877 his request is granted.

Returning to Russia, he travels to Feodosia with his daughter Alexandra, son-in-law Mikhail and grandson Nikolai. But the children of Aivazovsky did not have time to settle down in a new place - another Russian-Turkish war began. The following year, the artist sends his daughter with her husband and son to Feodosia, while 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 for their maintenance. Painfully, he took the news of his brother's death in 1879. In order not to mope, out of habit he went to work.

Love in Feodosia and love for Feodosia

Returning to his homeland in 1880, Aivazovsky immediately went to Feodosia and began building a special pavilion for the art gallery. He spends a lot of time with his grandson Misha, taking long walks with him, carefully instilling an artistic taste. Every day, Aivazovsky devotes several hours to students of the art academy. He works with inspiration, with extraordinary enthusiasm for his age. But he also demands a lot from the students, is strict with them, and few can withstand 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 had recently been widowed (in fact, it was at the funeral of her husband that Aivazovsky drew attention to her), the artist had to wait a little before making a marriage proposal. January 30, 1882 Simferopol St. Assumption Church “Actual State Councilor I. K. Aivazovsky, divorced by decree of the Echmiadzin Synoid dated May 30, 1877 N 1361 with his first wife from a legal marriage, entered into a second legal marriage with the wife of a Feodosia merchant, widow Anna Mgrtchyan Sarsizova, both Armenian Gregorian confession."

Soon the spouses go to Greece, where Aivazovsky works again, including painting a portrait of his wife. In 1883, he constantly wrote letters to the ministers, defending Feodosia and proving in every possible way that its location was the best suited for building a port, and a little later he petitioned to replace the city priest. In 1887, an exhibition of paintings by a Russian artist takes place in Vienna, which, however, he did not go to, remaining in Feodosia. Instead, he devotes all his free time to creativity, his wife, students, building an art gallery in Yalta. The 50th anniversary was celebrated with pomp artistic activity Aivazovsky. The entire high society of St. Petersburg came to greet the professor of painting, who has become 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 with the Order of the Medjidie of the 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 married couple still calls in 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 the eighth ten! Well, sit yourself in the rank of state councilor in your native Feodosia, surrounded by grandchildren and a young wife! No, Ivan Konstantinovich remembers perfectly why he rose so high. Diligence and fantastic dedication - without this, Aivazovsky will cease to be himself. However, he did not stay long in America and returned home in the same year. Came back to work. Such was Ivan Konstantinovich.

The most outstanding Armenian artist of the 19th century. Brother of the Armenian historian and priest Gabriel Aivazovsky.

The origin of the Aivazovsky family

Hovhannes (Ivan) Konstantinovich Aivazovsky was born into the family of merchant Konstantin (Gevorg) and Hripsime Aivazovsky. On July 17 (29), 1817, the priest of the Armenian church in the city of Feodosia recorded that Konstantin (Gevorg) Aivazovsky and his wife Hripsime had "Hovhannes, the son of Gevorg Ayvazyan." Aivazovsky's ancestors were from the Galician Armenians who moved to Galicia from Turkish Armenia in the 18th century. It is known that his relatives owned large landed property in the Lvov region, however, no documents more accurately describing the origin of Aivazovsky have survived. His father Konstantin (Gevorg), even after moving to Feodosia, wrote his surname in the Polish manner: “Gayvazovsky” (the surname is a Polonized form of the Armenian surname Ayvazyan). Aivazovsky himself, in his autobiography, says about his father, that due to a quarrel with his brothers in his youth, he moved from Galicia to the Danubian principalities (Moldavia, Wallachia), where he engaged in trade, from there to Feodosia; knew several languages.

Most sources attribute only Armenian origin to Aivazovsky. Lifetime publications dedicated to Aivazovsky convey, from his words, a family tradition that there were Turks among his ancestors. According to these publications, the artist’s late father told him that the artist’s great-grandfather (according to Bludova, on the female line) was the son of a Turkish military leader and, as a child, during the capture of Azov by Russian troops (1696) was saved from death by an Armenian who baptized him and adopted (option - a soldier). After the death of the artist (in 1901), his biographer N. N. Kuzmin told the same story in his book, but about the artist’s father, referring to an unnamed document in Aivazovsky’s archive

Biography

Childhood and studies

The artist's father, Konstantin Grigoryevich Aivazovsky (1771-1841), after moving to Feodosia, married a local Armenian woman Hripsima (1784-1860), and from this marriage three daughters and two sons were born - Hovhannes (Ivan) and Sargis (later, in monasticism - Gabriel). Initially, Aivazovsky's business was successful, but during the plague of 1812 he went bankrupt.

Ivan Aivazovsky discovered artistic and musical abilities from childhood; in particular, he taught himself to play the violin. Theodosian architect - Kokh Yakov Khristianovich, who was the first to pay attention to the artistic abilities of the boy, gave him the first lessons in skill. Yakov Khristianovich also helped the young Aivazovsky in every possible way, periodically giving him pencils, paper, and paints. He also recommended paying attention to the young talent to the Feodosia mayor. After graduating from Theodosia county school, he was, with the help of the mayor, who at that time was already an admirer of the talent of the future artist, enrolled in the Simferopol gymnasium. Then he was accepted at public expense to the Imperial Academy of Arts of St. Petersburg. Aivazovsky arrived in Petersburg on August 28, 1833. In 1835, for the landscapes "View of the seaside in the vicinity of St. Petersburg" and "Study of air over the sea" he received a silver medal and was assigned as an assistant to the fashionable French landscape painter Philip Tanner. Studying with Tanner, Aivazovsky, despite the latter's prohibition to work independently, continued to paint landscapes and exhibited five paintings at the autumn exhibition of the Academy of Arts in 1836. Aivazovsky's works received favorable reviews from critics. Tanner complained about Aivazovsky to Nicholas I, and by order of the Tsar, all of Aivazovsky's paintings were removed from the exhibition. The artist was forgiven only six months later and assigned to the class of battle painting to Professor Alexander Ivanovich Sauerweid to study naval military painting. After studying in Sauerweid's class for only a few months, in September 1837 Aivazovsky received the Big Gold Medal for the painting Calm. This gave him the right to a two-year trip to the Crimea and Europe.

Ivan Konstantinovich Aivazovsky is a famous Russian marine painter of his time. He painted 6,000 paintings depicting " big water". The artist raved about the sea. The element was for Aivazovsky something sacred, magical. Today I will briefly talk about the biography and work of the painter.

Artist biography

The biography of Ivan Aivazovsky is connected with the sea. The famous marine painter was born on July 29, 1817 in the port town of the Crimean peninsula (Feodosia). The artist's family had an average income. The boy's relatives supported all his undertakings, since the child had a craving for knowledge and an accurate memory.

Once the chief architect of the city noticed a talented boy painting the sea. The official, inspired after viewing Ivan's paintings, presented him with a set of paintings and brushes, noting the young man's extraordinary talent. The architect contributed to Aivazovsky getting the necessary art education.

From the age of 13, the future artist studied at the Simferopol gymnasium, 16 - at the St. Petersburg Academy of Arts. In 1837 the painter became the owner of a gold medal for success. applied arts allowing you to travel abroad. The artist conquers Abkhazia, Italy, France, Holland. Makes new acquaintances, often ending in close friendship, actively engaged in painting.

In 1844 (after returning) the artist was awarded the title of academician. Creativity of Ivan Konstantinovich Aivazovsky developed fruitfully over the next few decades. The painter is working on the creation of new canvases, doomed to be world famous. In parallel, Ivan Konstantinovich is engaged in charity work, makes a huge contribution to the development of the infrastructure of his native city.

Ivan Konstantinovich created his family in 1848. Aivazovsky married the daughter of the emperor's court physician Julia Grevs. The couple had 4 children. However, the happiness turned out to be short-lived, since Julia suffered a serious nervous illness that adversely affected the behavior of a woman.

The couple divorced (the wife loved the splendor of the capital, did not want to devote her life to Feodosia). Until the end of his days, Aivazovsky tried to maintain friendly relations with his daughters. It was very difficult to maintain a friendly position due to the constant interference of the ex-wife, preventing the establishment of normal relations.

Ivan Konstantinovich married for the second time at the age of 65 (1881). The chosen one of the artist is young Anna Sarkizova (she has just turned 25). The woman was faithful to the painter, respectively, until the end of her days supported Aivazovsky. In her honor, he painted the painting "Portrait of the Artist's Wife."

Creation

At the age of 20, the artist becomes the youngest graduate of the St. Petersburg Academy (according to the rules, you need to study for another 3 years). Next comes the travel period. The painter goes to his native Crimea for 2 seasons, and then to Europe for 6. Wanderings helped the artist to find an individual style of creating canvases, to improve his visual skills.

The works of Ivan Konstantinovich Aivazovsky were a great success. The painting "Chaos" wished to acquire the Pope. The artist did not want to sell the canvas, but handed the painting to the pontiff as a personal gift.

Thanks to his talent, friendly character, of course, Aivazovsky had friendly ties with many influential people. The artist was friends with Pushkin, Bryullov, Glinka, warmly communicated with the imperial family. Fame, wealth, worldwide recognition did not change the painter. The first place for Ivan Konstantinovich was still occupied by vocation.

Paintings by Ivan Aivazovsky are highly valued (the most expensive is 3.5 million dollars). The original paintings are in many museums around the world. Some paintings are kept in the galleries of his native city, founded by the artist himself.

famous paintings

Ivan Konstantinovich Aivazovsky "The Ninth Wave" - ​​mine favorite work. The canvas depicts an angry sea raging in the midst of a gloomy thunderstorm at night. The painting was painted in 1850. Today's original painting is in the State Russian Museum.

The canvas "Rainbow" depicts the tragic events of a shipwreck. The plot of the death of a ship crashing against the rocks is presented to the eye. Exhausted by the elements, the sailors are trying to escape with the help of a boat. A ghostly rainbow lights up the sky, symbolizing salvation.

“Evening in the Crimea. Yalta ”Aivazovsky created in 1848. The sunset gives a unique color scheme, illuminating the mountains and people around with the last rays of the sun.

“Sunset” is a painting painted by the artist in 1866. It depicts a ship in the still waters of the evening sun. Carefree clouds light up the sky, a family is located on the shore. Idyll.

The painting “Black Sea” (“A storm begins to break out on the Black Sea”) was created in 1881. The canvas shows the power sea ​​waves engulfed by a storm. Water is depicted as attractive, bewitching. The picture is painted using preferably dark tones.

The painting "Wave" depicts the power of a sea storm, the ruthlessness of the waves. Amid the raging water, a sinking ship seems small, helpless.

"Storm" shows the majesty of the sea element in moments of an all-consuming storm. Despite the wreck of the ship, unsuccessful efforts to save the crew, the sea remains beautiful.

"Night on the island of Rhodes" is an enchanting seascape with an evening sunset. There are no high waves familiar to Aivazovsky storm. The picture breathes calmness, peace.

The “Chesme Battle” is dedicated to the victory of the Russian people in the battle of the same name on June 24-26, 1770. The canvas depicts the confrontation between the navy of the native people and enemy Turkey.

“Morning at the Sea” is a pacifying picture that shows the measured life of people by the sea. Refers to the late period of Aivazovsky's work.

Ivan Konstantinovich Aivazovsky is not just an artist. This is a whole era, immortalized in hundreds of world-famous paintings.

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