The development and enrichment of the pictorial skill and expressiveness of Aivazovsky's picturesque images proceeded in a kind of undulating rhythm. His originality can be seen in the fact that in a huge avalanche of his works, at a certain time, interest appears and begins to grow in the depiction of some phenomenon new to his work. In the process of creativity, it crystallizes into more and more vivid pictorial images, until it manifests itself in a finished, as if completely new in idea, pictorial work. So it was with the painting "Rainbow".
In 1873, Aivazovsky painted the painting "Rainbow" (Tretyakov Gallery), depicting a terrible storm at sea. The waves threw the ship on the coastal cliffs, he tilted and barely holding on. The ship's crew leaves it, moving to the boats. People are engulfed in various feelings. The boats at the bow are preparing to hit her against the rocks: one holds a hook, another is ready to jump, a third is trying to row, a fourth is waving his hat. Some of the sailors are sitting, huddled together, as if gathering their strength before the last test.
Aivazovsky puts us in the center of a raging element. The wind blows fine water dust from the crests of the waves, which blinds the eyes. As if through it we see the furious waves, the vague silhouette of the ship at the moment of the crash, the unclear boundaries of the rocky coast. The clouds in the sky lost their outlines and dissolved into a transparent wet veil that covered the sky and the background of the picture.
Aivazovsky always painted with great skill a wave breaking on coastal stones. He knew how to give it a living movement, to depict well how, exhausted after hitting a rock, it flows in small streams along the crevices of the rocks, washing them and imparting shine and depth of color to the stones.
"Rainbow", for all its extraordinaryness, of course, has analogies in the work of Aivazovsky. He painted many "pearl" sunrises and foggy morning dawns, but in this picture, brighter and more complete than in the previous ones, the elusive state of nature is conveyed with great pictorial perfection.
The rainbow was painted more than once by artists of past eras and our contemporaries. Usually, in order to set off the brightness of the spectral colors, she was depicted against a dark background of a thundercloud of lead. Otherwise, Aivazovsky showed the rainbow. Without shading its color purity with nearby tones, he recreated it with the same colors with which the whole picture is written, thanks to which it acquired transparency, softness and that true freshness and purity of color that pleases us in nature; the color structure of the painting increased and acquired a soft sparkling iridescent color, putting it on a par with the most perfect works of Aivazovsky.
The artist managed to find and embody in the "Rainbow" new features in the art of painting. It is very curious that he ordered a massive black frame for it, and not a gold one, as he usually did. By this, he sought to enhance the pictorial effect of the picture, to emphasize the lightness and iridescent clarity of its color.
In Russian art of the 70s it is difficult to find an analogy for this painting. It was an innovation not only in the work of Aivazovsky, although the entire course of the development of his skill should have led him to such a picturesque image - the painting "Rainbow" was a new, higher step in the development of Russian landscape painting. From her stretched the threads of continuity to the work of A. I. Kuindzhi, L. F. Lagorio, N. N. Dubovsky. It is very significant that modern Aivazovsky critics did not notice the picture and in every possible way extolled another, very similar in composition, but inferior to "Rainbow" in subtlety and novelty of execution, a huge picture "Storm at Cape Aya" (1875, Russian Museum), painted two years later. And only P. M. Tretyakov, with his characteristic flair, correctly identified its place in Russian painting and acquired it for his gallery.
Aivazovsky was not only gifted with surprisingly subtle perception, but also owned a variety of visual means. He knew how to convey the ever-changing sea element in all manifestations and states. His skill and sharpness of observations were especially pronounced in the depiction of lunar marinas.
Comparison of several pictures gives a clear idea of this. If we sequentially consider the paintings of the Feodosiya Gallery "Moonlight Night in Naples" (1850), "St. surely he was able to choose from a huge arsenal of techniques exactly those that allowed him to convey his feelings with the greatest expressiveness.
In painting the moonlight in this picture, Aivazovsky used other techniques. In places, where the light glides across the surface of the sea between the waves, the colorful layer is laid out in wide, even planes that convey the rhythm of their movement, and in places where the waves break on the shore, their splashes sparkle in the night haze ... . This is artistically conveyed by various strokes of the brush, alive and moving, like the very element they represent.
And in a completely different way, Aivazovsky painted the reflection of the moonlight in the painting "Storm in the North Sea". He flooded the entire central part of the picture with moonlight, which strengthened the impression of the formidable scope of the huge waves. The light laid with a wide brush, running after the movement of the waves, gives the picture depth and sculpts the shapes of huge waves, and the glare, as if accidentally thrown on the water, gives an elusive, lively movement to the whole picture.
So, each time, to perceive nature in a new way and each time to find the necessary, special means for conveying its state, very few artists who have access to the heights of pictorial skill were able to. And in Russian landscape painting, Aivazovsky was one of the first among them.
Aivazovsky's work developed on the soil that nurtured Russian art of the 19th century, and was associated with it with its roots. His work went in line with the progressive group of Russian Wanderers. Aivazovsky's painting "The Black Sea" hung in the Tretyakov Gallery along with paintings by the Wanderers.
The painting "Black Sea" is one of the most expressive works of the artist. Initially, it was called "A storm begins to play out on the Black Sea." However, this name did not satisfy Aivazovsky, as it spoke only of the external state of nature. And he dreamed of creating an image of the Black Sea, which includes many of its distinctive features.
The sea is depicted on a gray day. The sky is covered with clouds. The entire foreground of the picture is filled with waves coming from the horizon. They move ridge after ridge and, by their alternation, create a special rhythm and majestic structure of the whole picture. The severe simplicity of the content is fully met by a restrained colorful range, built on a combination of warm gray tones of the sky and deep green-blue color of the water. Knowledge of the depicted nature and a penetrating understanding of it, the stingy prudence of painting techniques determined the appearance of a deeply truthful picture, which put Aivazovsky's name on a par with the leading masters of Russian realistic art and provided him with nationwide recognition.
Canvas, oil. 102x132 cm.State Tretyakov Gallery, Moscow. Inv. number: 801
Arrival: Acquired P.M. Tretyakov until 1893 from the author.
Beginning in the 1860s, Aivazovsky's "improvisational" style of writing, who did not "copy" the world from nature, but seemed to remember and even compose it, came into conflict with the latest trends in contemporary Russian painting, the expression of which was the organization at the turn of 1860- 70s of the Association of Traveling Art Exhibitions. The Wanderers professed hard realism, preferring socially significant works to romantically agitated canvases. At the same time, critics loudly talked about the fact that Aivazovsky's talent had dried up, that he was repeating himself and, in general, could write nothing but waves. The answer to these accusations was the painting "Rainbow", which marked a new stage in the artist's work.
On the one hand, we have another "shipwreck" of Aivazovsky. But, on the other hand, it is not at all like his previous "shipwrecks" and "storms". Without abandoning his own principles, he greatly modernizes them in this work - this is especially noticeable in the color scheme of the canvas.
The former "exaggerated" (according to the painter's own words) colors give way to a more restrained and at the same time more subtly developed coloring. Less "invention", pedaled "realism" - this is an obvious replica of the artist in a dialogue with modernity. Although romantic tension remains a characteristic feature of this work.
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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 ..."
| K: Paintings of 1873 Ivan Konstantinovich Aivazovsky painted about six thousand paintings during his long life. For more than sixty years of the development of Russian art, Aivazovsky's seascapes have occupied one of the permanent positions in the genre repertoire. He was and remains an artist of one theme, one motive; having reached perfection within the limits set for himself, he practically did not transgress them. The painting "Rainbow" was Aivazovsky's answer to accusations from critics that his "improvisational" style of painting is not modern, and his talent is drying up. The canvas was painted in 1873 and became a new stage in the work of the painter. At first glance, before us is a typical Aivazovsky image of a “shipwreck”. But on the other hand, this work is very different from the previous canvases of the artist. Without abandoning his positions, Aivazovsky, nevertheless, subjected them to revision and modernization - especially with regard to the color scheme of the picture. Instead of saturated bright colors on this canvas, the shades are more restrained, subtly designed. There is much less "fiction" in the picture. Despite the obvious romanticism, the work "Rainbow" is distinguished by an undoubted bias towards realism. The plot of the pictureIn the plot of the picture - a raging sea with a dying ship near a rocky shore. Depicting a storm, Aivazovsky wrote it as if he himself had been among the elements. The wind blows water dust from the crests of raging waves. Through the whirlwind, outlines of a rocky shore and the silhouette of a sinking ship are barely visible. The masts of which are intact, the sails are not lowered, perhaps the cause of the crash was not a storm at all, but an underwater reef. The ship gradually sinks to the bottom.Sailors are trying to escape on boats sliding on the water. The helmsman indicates the direction in which to swim. People are exhausted by the struggle with the elements. They leaned back to the sides in order to save strength, in order to change the rowers over time. The despondency of the sailors is replaced by revival. A rainbow appears in the sky promising salvation. It is like a mirage, it disappears, it flickers - bewitching, ghostly. The waves subside and no longer carry any particular danger. Color solutionThe colorful gamut of the picture, the pictorial performance were a completely new phenomenon in Russian painting of the seventies. The foreground differs from the rear in both emotional mood and color. The tension is gradually replaced by calm and light shades of blue, green, purple and pink tones. A stream of sunlight lay like a rainbow on the water, thereby betraying the color of the picturemulti-coloured. Write a review on the article "Rainbow (painting by Aivazovsky)"Links
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An excerpt characterizing the Rainbow (painting by Aivazovsky)
The curtain went up again. Anatole left the box, calm and cheerful. Natasha returned to her father in the box, already completely subordinate to the world in which she was. Everything that happened before her already seemed quite natural to her; but for that, all her former thoughts about her fiancé, about Princess Mary, about village life never once entered her head, as if everything had been long, long past.In the fourth act there was some kind of devil who sang, waving his hand until the boards were pulled out under him, and he sank down there. Natasha only saw this from the fourth act: something worried and tormented her, and the cause of this excitement was Kuragin, whom she involuntarily followed with her eyes. As they left the theatre, Anatole approached them, called their carriage, and helped them up. As he lifted Natasha up, he shook her hand above the elbow. Natasha, excited and red, looked back at him. He, shining with his eyes and gently smiling, looked at her.
Only when she arrived home, Natasha could clearly think over everything that had happened to her, and suddenly remembering Prince Andrei, she was horrified, and in front of everyone for tea, for which everyone sat down after the theater, she gasped loudly and flushed out of the room. - "My God! I died! she said to herself. How could I let this happen?" she thought. For a long time she sat covering her flushed face with her hands, trying to give herself a clear account of what had happened to her, and could neither understand what had happened to her, nor what she felt. Everything seemed to her dark, indistinct and frightening. There, in this huge, illuminated hall, where Duport jumped on wet boards to the music with bare legs in a jacket with sequins, both girls and old men, and Helen, naked with a calm and proud smile, shouted bravo in delight - there, under the shadow of this Helen , there it was all clear and simple; but now alone, with herself, it was incomprehensible. - "What it is? What is this fear that I felt for him? What is this pangs of conscience that I feel now? she thought.
To one old countess, Natasha would be able to tell everything that she thought in bed at night. Sonya, she knew, with her stern and solid look, either would not have understood anything, or would have been horrified by her confession. Natasha, alone with herself, tried to resolve what tormented her.
“Did I die for the love of Prince Andrei or not? she asked herself, and answered herself with a reassuring smile: What kind of fool am I that I ask this? What happened to me? Nothing. I didn't do anything, I didn't cause it. No one will know, and I will never see him again, she told herself. It became clear that nothing had happened, that there was nothing to repent of, that Prince Andrei could love me like this. But what kind? Oh my God, my God! why isn't he here?" Natasha calmed down for a moment, but then again some instinct told her that although all this was true and although there was nothing, instinct told her that all her former purity of love for Prince Andrei had perished. And she again in her imagination repeated her entire conversation with Kuragin and imagined the face, gestures and gentle smile of this handsome and courageous man, while he shook her hand.
Anatole Kuragin lived in Moscow because his father sent him away from St. Petersburg, where he lived on more than twenty thousand a year in money and the same amount of debt that creditors demanded from his father.
Description of the painting by Aivazovsky “Rainbow”
The painting by the Russian marine painter Aivazovsky “Rainbow” was painted in the aesthetics of romanticism, and conveys admiration for the beauty of the uncontrollable sea element.
The low-key color of pale blue flowers, unexpressed malachite and lilac shades, emphasize the subtle attitude of I.K. Aivazovsky.
Looking at the canvas, I feel that the artist has depicted something that really sincerely touches him.
The spectacular plot of people's impotence before the storm aggression of a hurricane wind and the chaos of high waves, in the foreground, creates a picture of doom.
The gaze, like a magnet, is attracted by the sea and the horizon, which have merged in a single rush of raging water, which leave the impression of absorbing boundlessness and hopelessness.
The sinking ship in the depths of the sea, the outline of the silhouettes of the rocky shore, the lead weight of the rising waves with a foam cap on the crest, emphasize the whole tragedy of the situation.
The sea, in its wrath, always captivates the eye.
Rearing waves of gray slate color, throw from their path everything that falls under the power of the storm: birds, people, ships.
It knows no mercy and loudly, with cannon thunder, smashes against the shore all the obstacles in the way of water.
I am attracted by a storm that drowns out the roar of waves and wind, covers space and horizon with its grandeur, and rings like metal in the stunned air.
Lost in the infinity of horror, people from a sinking ship see their salvation in the grace of heaven and the surviving boat.
Against the backdrop of a storm, my attention is drawn to the dim glow of a manifested rainbow that connected sky and water.
She points the way to salvation, and gives hope to those who find themselves under her rainbow dome.
Hanging over the sea, in the space of the natural wrath of the wild passion of the storm, a flickering rainbow looks like a revived projection of the sailors' subconscious faith in the Higher powers and the hope of salvation.
The color expressiveness of the background smooths out the emotional tension from the picture and resonates with light sadness in the heart.
And you feel how other feelings come to replace the tension.
The title of the painting speaks for itself.
I was most struck by those few gentle strokes of iridescent colors with which the artist touched the canvas.
These touches instantly managed to change the semantic meaning of the picture.
Aivazovsky wrote his one of the finest paintings - "Rainbow" in 1873 with an atypical manner for himself. This picture stands out from other works of the author by its unusualness in terms of drawing.
The tragedy of the shipwreck is conveyed in a completely new way: with an unusual color palette, an improved technique for reproducing that disaster with sailors, and with the promise of a miraculous rescue - as evidenced by the presence of a rainbow.
The rainbow painting by Aivazovsky is, perhaps, the only canvas in which the master of marine painting crossed his own creative foundations and made it clear to critics that “talent is not exhausted, the manner is the latest.”
Those who are familiar with the artist's work will argue that this canvas is the most unusual work from all the others. It will not leave the layman just like that, without the feeling of some kind of participation in the thick of the event.
Rainbow. 1873 Oil on canvas. 102 × 132 cm. Tretyakov Gallery, Moscow.
Description of the picture
Description of the picture in one word is impossible, even the most eminent masters of the pen sometimes experience difficulties in describing it.
The picture itself was depicted in a non-standard color scheme: instead of saturation, the author preferred strict tint methods.
In his "Rainbow" Ivan Aivazovsky wanted to deviate from principles and presented what is now a classic of realism. And he knew how best to describe the details of the vagaries of the weather (especially sea weather) - after all, despite his age and fame (at the time of writing this work he was 53 years old), he did not leave the main love of life - long-distance sea voyages. There were even rumors that he died during one shipwreck and after that, to spite everyone, Ivan Konstantinovich painted one of his most famous things - which brought the author's name into the artistic heritage of Russia.
This is a formidable sea that has thrown a dying ship to the rocks. Also, a huge number of clouds are rushing to the dead mast, forming darkness. A hurricane, mixed with huge waves, prevents the rescue of survivors and with all natural disturbances they try to knock out the last strength from people in order to give their bodies to the depths of the sea.
But people who are fleeing from imminent death are trying to save the energy that is leaving them (in order to replenish it, they lean back against the walls of the boat, passing the oars to the next). But the rainbow gives hope for salvation. She, like a mirage, suddenly appears and also disappears - her struggle with the storm is clearly going on. Judging by the prevailing light range and the highlighting of the rainbow by Ivan Aivazovsky, the danger is over, and the multi-color coloring of the work is also given by the transparent sun rays located on the water surface.
What is the secret of the picture?
Aivazovsky Rainbow - what is special about it? It would seem that a picture that tells about a natural disaster and the miraculous rescue of the crew of a sunken ship, how does it attract a huge number of inhabitants and those who are versed in art?
Many people who saw the canvas itself or the photo in art books or museum booklets thought about this question.
Despite the note of tragedy, the picture itself carries a positive message: people, despite their apparent hopelessness and inability to resist a sea hurricane, overcome adversity when they see the light and a rainbow trail, which makes them row to the shore from their last energy reserves (hold on to the last).
The picture seems to say: "Nothing is insurmountable"
Aivazovsky presented the rainbow as a kind of sign of victory and salvation.
Today, this picture of a Russian artist, of feudal origin and in his life adhered to a marine positional policy, can be seen in the main treasury of cultural heritage - in the Tretyakov Gallery.
An interesting addition about the Aivazovsky legacy from the Tretyakov Gallery
The canvas was bought from the author himself by his friend and major collector P.M. Tretyakov, who considered "Rainbow" the pearl of Russian painting.
This photo shows Aivazovsky's "Rainbow", the opinion is ambiguous: for whom it will be positive and heroic, and for whom it will seem formidable from a dark, frightening side.
The work of art itself was written in 1873, its original size is 102x132 centimeters. The picture hangs not in a traditionally gilded frame, but in a black one - why it is in such a frame is unknown. Experts suggest that in this way the maestro made it clear to critics that this was a response to their accusations of the absence of any innovations in writing canvases.
Aivazov's "Rainbow" is a kind of experimental work on the theme of a storm by Ivan Konstantinovich, because the technique he created has been improved, the colors acquire not so much brightness, but also the depth of the palette - conveying the atmosphere of the battle of the marine angry mood (which ruined the ship near the rocks) and having something with divine power. Do not forget that in the process of writing, the artist imagined himself in that group of 13 survivors who had to feel the wrath of the sea, they try to escape in a panic and the highest help comes (this is evidenced by the folded hands for prayer and the concentrated expression on the face of one of them ) - which gives a sense of the reality of what is happening.
"Rainbow" - more than an ordinary painting?
In addition to the philosophical meaning, the picture also contains a biblical meaning:
Although the picture is positioned by critics as a representative of the genre of realism, some still define it as romanticism. Why? The answer is contained in the main element - the rainbow phenomenon. In itself, the natural sign is very interesting, but in the pictorial sense, it is the personification of the image of the leading righteous man, who appears before a group of people, helping to avoid death in the depths of the waters.
The eternal struggle between the dark forces and God's is illustrated here by a battle between a formidable storm and a bright rainbow.
Darkness beckons, but destroys
The light is not easy, but it saves
An interesting fact: the name of the canvas was different at the beginning - “Storm”, but due to uncharacteristic color options and the transfer of that sensitivity and emotionality - the author of the painting decided to rename it to something more unusual for the theme, unique and evoking those experienced minutes that the artist himself experienced .
