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 lively shopping mall with a population of several thousand people.
From all over the south 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 it began Patriotic War 1812, 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 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 gave Vanya the first lessons visual arts. Later, having heard Aivazovsky play the violin, the mayor Alexander Ivanovich Kaznacheev became interested in him. Happened funny story- when Koch decided to introduce the little artist to Kaznacheev, he was 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 him to the capital best drawings. 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 as to enter full-time academics Imperial Academy arts, because on the basis of § 2 of the addition to its regulations, those who enter must be at least 14 years old.
It is good to draw, at least from the originals, a human figure, to draw orders of architecture and to have preliminary information in the sciences, so as not to deprive this young man occasions and ways to develop and improve his natural abilities for art, I considered the only means for this to be the highest permission to appoint him to the academy as a pensioner of his imperial majesty with production for his maintenance and other 600 r. 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 soul of the artist filled the longing for the familiar south great views cities 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 helped more than once. 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 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 pass summer practice on the ships of the Baltic Fleet. Created only a hundred years ago, the fleet was already formidable force 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 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 he spent time great poet. No less important for Ivan was the meeting with Karl Bryullov. Having recently completed work on the canvas “The Last Day of Pompeii”, he arrived in St. Petersburg and each of the students of the Academy passionately wished that Bryullov was 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!
Rest…
In the spring of 1838, Aivazovsky arrived in Feodosia. Finally he saw his family, his beloved city and, of course, the southern sea. Of course, the Baltic has its own charm. But for Aivazovsky, it is the Black Sea that will always be the source of the brightest inspiration. Even after such a long separation from his family, the artist puts work first.
He finds time to communicate with his mother, father, sisters and brother - everyone is sincerely proud of Hovhannes, the most promising artist in St. Petersburg! At the same time, Aivazovsky is working hard. He paints canvases for hours, and then, tired, 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 Nikolayevich Raevsky - a brave man, an outstanding commander, the son of Nikolai Nikolayevich Raevsky, a 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 were an inexhaustible source of inspiration for the marine painter.
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 a 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. IN last moment found 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 provides assistance to the wounded, 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. 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. A noteworthy fact speaks eloquently about the level of the artist's skill: the Pope himself wanted to buy the painting "Chaos". 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 Golden medal 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 a land plot and began to build his house-workshop, which he personally designed. Many do not understand the artist - the sovereign's favorite, 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 in this hustle was rarely given. Created one of the most famous paintings- "The Ninth Wave".
But it is worth noting that Ivan still went to Feodosia. The reason for this was 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. The statute, apparently close attention to his personal life, Aivazovsky with his wife and in 1852 leaves home, to the Crimea. An additional reason (or perhaps the main one?) 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 art school, but receives a denial of funding from 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 force 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 pictures, travels around the Caucasus, Armenia, pays everything free time students of their 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 of Fine Arts, and his self-portrait adorned the gallery of the Pitti Palace - Ivan Konstantinovich stood on a par with the best artists Italy and the world.
A year later, having 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. 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 planting 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 of Aivazovsky's artistic activity was celebrated with pomp. Whole elite 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 personal exhibition to Paris, where he was awarded the Order 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 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 Black Sea is the constant and most frequent object of the image of Ivan Aivazovsky. A native of Feodosia, the great marine painter knew his native shores almost by heart, which is why the waters of the Black Sea are so diverse in his work. "Black Sea" - Aivazovsky's painting, which attracts with its simplicity and inner strength. It depicts nothing but the sea, and that is what makes it thin and beautiful.
Marine painter Ivan Aivazovsky
The real name of the recognized master of the seascape is Hovhannes Ayvazyan, he comes from the family of an impoverished Armenian merchant. Due to the heavy financial position young Aivazovsky could not afford a decent education in the art of drawing and painting until he attracted the attention of the chief architect Feodosia with his natural talent.
After initial help from his benefactor, Aivazovsky managed to quickly achieve recognition and popularity. Big role in achieving the status of an academician of arts, his unique manner of depicting water in general and seascapes in particular played.
The painter's talent was not limited to images of the sea, as evidenced by his numerous portraits, rare genre compositions and plots on religious themes. However, Aivazovsky's only and inextinguishable passion was the sea.
The Black Sea in the work of Aivazovsky
Despite the fact that "The Black Sea" (Aivazovsky's painting, painted in 1881) is the only canvas with this name, the great marine painter often depicted the waters of the Black Sea on his canvases. The artist was born in Feodosia and lived there most of his life. Aivazovsky believed that it was impossible to draw water from nature, since it is the most fickle and changeable of the elements. However, the shores and waves of his native Black Sea were so familiar to him that he could depict their various states from memory.
Among the huge artistic heritage By the author, the largest number of paintings is devoted to the Black Sea, which was the constant theme of the artist. Aivazovsky depicted the Black Sea in all its guises - in calm and in a storm, day and night, in the rays of the morning sun or in the fire of sunset. The work of the great marine painter leaves no doubt about his love and affection for his native shores.
Description of the painting by Aivazovsky “Black Sea”
Despite the frequent depiction of native shores, in creative heritage Aivazovsky, there is only one painting, which is simply called "The Black Sea". This canvas was created by the artist in 1881 and offers viewers a view of the endless expanse of the sea, frozen on canvas just before the start of the storm. The second name of the picture is "A storm begins to play out on the Black Sea."
"Black Sea" - Aivazovsky's painting, characterized by the simplicity of the plot and practically perfect proportions compositions. The canvas depicts a darkened sea with frequent, restless, but not yet high waves, decorated with small foamy crests. Such waves, penetrated by rays of light and as if glowing from within, were called by the artist's contemporaries "Aivazovsky's waves".
The horizon line divides the picture almost perfectly into two equal parts - a stormy sea below, a darkened sky above, and between them a thin strip of land and a lone sail striving towards it barely peep through a veil of fog.
Painting analysis
"The Black Sea" - Aivazovsky's painting, which attracts the eye with a relaxed harmony and unusually realistic color palette. In addition to the fact that the picture is compositionally divided in half into the sea and the sky, the elements of these two parts seem to be reflected in each other.
The dark clouds on the right merge and form an equilateral wedge with the dark waves of the raging sea. The play of light and shadow in the picture creates a lively composition, the dynamism of which is emphasized by the horizon line slightly tilted to the left.
The symmetry of the forms in the picture is the opposite of the asymmetry in the application of colors: while the sky is replete with a rich palette of shades, including purple, blue, azure, gray and ivory, the sea stretching under the sky cannot boast of such chromatic diversity. The sea in Aivazovsky's painting "The Black Sea" is made in blue-green, muted colors. The painting "Black Sea" (Aivazovsky masterfully depicted the state of the water element) should conquer not with an abundance of details and a riot of colors, but with realism, natural beauty and the power of the raging sea.
The Black Sea on other canvases by Aivazovsky
The Black Sea was eternal theme Aivazovsky and never for a long time left the canvases on which the great marine painter worked. The artist's works glorify the beauty, variability and natural power of the water element, so it is not surprising that the Black Sea close to Aivazovsky is shown in his paintings in all its diversity and inconstancy.
The calm and serene Black Sea can be seen in the paintings “Entrance to the Sevastopol Bay” and “Gurzuf”, and its waters, pierced by the rays of the setting sun, are captured on the canvases “View of the sea from the mountains of Crimea” and “Sunset near the Crimean coast”. The description of Aivazovsky’s painting “Storm on the Black Sea” is complicated by the fact that there are three paintings with this name in the marine painter’s heritage.
Aivazovsky depicted the Black Sea in the first rays of the rising sun ("Sunrise in Feodosia") and in a stormy wind ("View of Odessa from the sea"). In the artist’s paintings, they are swallowed up by fog (“ Foggy morning”) or illuminated by the bright moon (“Feodosia. Moonlight night"). Each image of the Black Sea suggests that the marine painter Ivan Aivazovsky carefully kept it in his memory all his life and even in Italy did not stop painting views of his native shores.
A very valuable article for both the viewer and the professional artist.
Why is the Aivazovsky Sea so alive, breathing and transparent? What is the axis of any of his paintings? Where should we look to enjoy his masterpieces to the fullest? As he wrote: is it long, short, joyful or painful? And what does impressionism have to do with Aivazovsky?
Of course, Ivan Konstantinovich Aivazovsky was born a genius. But there was also a craft that he mastered brilliantly and in the intricacies of which one wants to understand. So, from what were the sea foam and moon paths of Aivazovsky born?
Ivan Constantinovich Aivazovski. Storm on rocky shores.
"Secret colors", Aivazovsky wave, glazing
Ivan Kramskoy wrote to Pavel Tretyakov: “Aivazovsky probably has the secret of composing paints, and even the paints themselves are secret; I have never seen such bright and pure tones even on the shelves of Muscat shops. Some of Aivazovsky's secrets have come down to us, although the main one is not a secret at all: in order to write the sea like that, you need to be born by the sea, live near it long life, for which you can’t get enough of them.
The famous "Aivazovsky wave" is a foamy, almost transparent sea wave, according to sensations - moving, impetuous, alive. The artist achieved transparency using the glazing technique, that is, applying the thinnest layers of paint on top of each other. Aivazovsky preferred oil, but often his waves seem like watercolors. It is as a result of glazing that the image acquires this transparency, and the colors seem very saturated, but not due to the density of the stroke, but due to the special depth and subtlety. Aivazovsky's virtuoso glazing is a delight for collectors: most of his paintings are in excellent condition - the thinnest layers of paint are less prone to cracking.
Aivazovsky wrote rapidly, often creating works in one session, so his glazing technique had author's nuances. Here is what Nikolai Barsamov, the long-term director of the Feodosia Art Gallery and the greatest connoisseur of Aivazovsky’s work, writes about this: “... he sometimes glazed water over a semi-dry underpainting. Often the artist glazed the waves at their base, which gave depth and strength to the colorful tone and achieved the effect of a transparent wave. Sometimes glazing darkened significant planes of the picture. But glazing in Aivazovsky's painting was not mandatory. last step work, as was the case with the old masters with a three-layer method of painting. All his painting was basically carried out in one step, and glazing was often used by him as one of the ways to apply a paint layer on white ground at the beginning of work, and not just as final registrations at the end of work. The artist sometimes used glazing at the first stage of work, covering significant planes of the picture with a translucent layer of paint and using the white ground of the canvas as a luminous lining. So sometimes he wrote water. Skillfully distributing a layer of paint of various densities over the canvas, Aivazovsky achieved a true transmission of the transparency of water.
Aivazovsky turned to glazes not only when working on waves and clouds, but with their help he was able to breathe life into the land. “Aivazovsky painted earth and stones with coarse bristly brushes. It is possible that he cut them on purpose so that the hard ends of the bristles would leave furrows on the paint layer, says art historian Barsamov. - The paint in these places is usually laid in a dense layer. As a rule, Aivazovsky almost always glazed the ground. The glazing (darker) tone, falling into the furrows from the bristles, gave a kind of liveliness to the colorful layer and greater reality to the depicted form.
As for the question “where did the paint come from?”, it is known that in last years he bought paints from the Berlin firm Mewes. Everything is simple. But there is also a legend: as if Aivazovsky bought paints from Turner. Only one thing can be said about this: it is theoretically possible, but even if so, Aivazovsky definitely did not paint all 6,000 of his works with Turner paints. And the picture that the impressed Turner dedicated the poem to was created by Aivazovsky even before he met the great British marine painter.
Ivan Constantinovich Aivazovski. Bay of Naples on a moonlit night.
“In your picture I see the moon with its gold and silver, standing above the sea, reflected in it. The surface of the sea, on which a light breeze catches up with a quivering swell, seems to be a field of sparks. Forgive me great artist if I was mistaken in taking the picture for reality, but your work fascinated me, and delight took possession of me. Your art is eternal and powerful, because genius inspires you,” William Turner’s poems about Aivazovsky’s painting Bay of Naples on a Moonlit Night.
Ivan Constantinovich Aivazovski. Among the waves.
The main thing is to start, or At the pace of Aivazovsky
Aivazovsky always began work with the image of the sky, and he wrote it in one go - it could be 10 minutes or 6 hours. He painted the light in the sky not with the side surface of the brush, but with its end, that is, he “illuminated” the sky with numerous quick touches of the brush. The sky is ready - you can relax, get distracted (however, he allowed himself this only with paintings that took a lot of time). The sea could write in several passes.
To work on a painting for a long time in the view of Ivan Aivazovsky is, for example, to paint one canvas for 10 days. That is how much it took the artist, who at that time was 81 years old, to create his largest painting - "Among the Waves". At the same time, according to his confession, his whole life was a preparation for this picture. That is, the work required maximum effort from the artist - and for ten whole days. But in the history of art, it is not uncommon for paintings to be painted for twenty or more years (for example, Fyodor Bruni wrote his “ copper serpent» 14 years old, started in 1827 and finished in 1841).
In Italy, Aivazovsky certain period got along with Alexander Ivanov, the same one who wrote The Appearance of Christ to the People for 20 years, from 1837 to 1857. They even tried to work together, but soon quarreled. Ivanov could work on a sketch for months, trying to achieve the special accuracy of a poplar leaf, while Aivazovsky managed to walk all around and paint several pictures during this time: “I can’t write quietly, I can’t pore for months. I don’t leave the picture until I speak out.” So many different talents different ways to create - hard labor and joyful admiration of life - could not stay close for long.
Ivan Aivazovsky next to his painting, photograph, 1898.
Aivazovsky at the easel.
“The atmosphere of the workshop was exceptionally simple. In front of the easel was a simple chair with a wicker reed seat, the back of which was plastered with a rather thick layer of paint, since Aivazovsky had a habit of throwing his hand with a brush behind the back of the chair and sitting half a turn to the picture, looking at it, ”- from the memoirs of Konstantin Artseulov , this grandson of Aivazovsky also became an artist.
Creativity as joy
Aivazovsky's muse (forgive us this pompousness) is joyful, not painful. “From the ease, apparent ease of the movement of the hand, from the contented expression of the face, one could safely say that such work is a real pleasure,” these are the impressions of the official of the Ministry imperial court, writer Vasily Krivenko, who watched how Aivazovsky works.
Aivazovsky, of course, saw that for many artists their gift is either a blessing or a curse, other paintings are written almost with blood, exhausting and exhausting their creator. For him, approaching the canvas with a brush has always been the most great joy and happiness, he acquired a special lightness and omnipotence in his workshop. At the same time, Aivazovsky listened carefully to good advice, did not dismiss the remarks of people whom he valued and respected. Although not enough to believe that the lightness of his brush is a drawback.
Plein air VS workshop
Only the lazy did not talk about the importance of working with nature in those years. Aivazovsky, on the other hand, preferred to make fleeting sketches from life, and write in the studio. “Preferred”, perhaps, is not quite the right word, it's not about convenience, it was his principled choice. He believed that it was impossible to depict from nature the movement of the elements, the breath of the sea, the peals of thunder and the flashing of lightning - and that was what interested him. Aivazovsky had phenomenal memory and considered it his task "in nature" to absorb what was happening. Feeling and remembering, in order to return to the studio, throw out these feelings on the canvas - that's why nature is needed. At the same time, Aivazovsky was an excellent copyist. During training with Maxim Vorobyov, he demonstrated this skill to the fullest. But copying - at least someone's paintings, even nature - seemed to him much less than he was able to do.
Ivan Constantinovich Aivazovski. Amalfi Bay in 1842. Sketch. 1880s
Ivan Constantinovich Aivazovski. Coast in Amalfi.
About the rapid work of Aivazovsky and what his sketches from nature were, the artist Ilya Ostroukhov left detailed memories:
“I accidentally got acquainted with the manner of performing artworks by the late famous marine painter Aivazovsky in 1889, during one of my trips abroad, in Biarritz. At about the same time that I arrived in Biarritz, Aivazovsky also arrived there. The venerable artist was already then, as I remember, about seventy years old ... Having learned that I was well acquainted with the topography of the area, [he] immediately pulled me for a walk along the ocean shore. The day was stormy, and Aivazovsky, fascinated by the view of the ocean surf, stopped on the beach ...
Without taking his eyes off the ocean and the landscape of distant mountains, he slow motion got my little one notebook and drew only three lines with a pencil - the outline of distant mountains, the line of the ocean at the foot of these mountains, and the line of the coast from myself. Then we went on with him. After walking about a verst, he stopped again and made the same drawing of several lines in the other direction.
“It’s a cloudy day today,” Aivazovsky said, “and you can only tell me, please, where the sun rises and sets here.
I pointed. Aivazovsky put a few dots in the book and hid the book in his pocket.
- Now let's go. For me this is enough. Tomorrow I will paint the ocean surf in Biarritz.
The next day, three spectacular pictures of the sea surf were really written: in Biarritz: in the morning, at noon and at sunset ... "
Ivan Constantinovich Aivazovski. Biarritz. 1889
Aivazovsky's sun, or what does impressionism have to do with it
The Armenian artist Martiros Saryan noticed that no matter how grandiose the storm Aivazovsky portrayed, in the upper part of the canvas, always through the accumulation thunderclouds a ray of light will break through - sometimes clear, sometimes thin and barely noticeable: "It is in it, this Light, that the meaning of all the storms depicted by Aivazovsky lies."
Ivan Constantinovich Aivazovski. Storm in the North Sea.
Ivan Constantinovich Aivazovski. Moonlight night. 1849
Ivan Constantinovich Aivazovski. Bay of Naples on a moonlit night. 1892
Ivan Constantinovich Aivazovski. The ship "Empress Maria" during a storm. 1892
Ivan Constantinovich Aivazovski. Moonlit night in Capri. 1841
If it is the sun, then it will illuminate the blackest storm, if it is a lunar path, then it will fill the entire canvas with its flicker. We are not going to call Aivazovsky either an impressionist or a forerunner of impressionism. But let's quote the words of patron Alexei Tomilov - he criticizes Aivazovsky's paintings: "The figures are sacrificed to such an extent that it is not possible to recognize: in the foreground they are men or women (...) air and water flaunt." We say about the Impressionists that the main characters of their paintings are color and light, one of the main tasks is the transmission of light-air mass. In the works of Aivazovsky, light is in the first place, and yes, quite right, air and water (in his case, this is about the sky and the sea). Everything else is built around this main thing.
He strives not only to portray plausibly, but to convey sensations: the sun should shine so that you want to close your eyes, the viewer will shrink from the wind, recoil from the wave in fright. The latter, in particular, was done by Repin, when Aivazovsky suddenly opened the door of the room in front of him, behind which stood his "Ninth Wave".
Ivan Constantinovich Aivazovski. Ninth shaft.
How to look at Aivazovsky's paintings
The artist gave absolutely unambiguous recommendations: you should look for the brightest point on the canvas, the source of light, and, peering intently at it, slide your eyes over the canvas. For example, when he was reproached that Moonlit Night was not finished, he argued that if the viewer “turns his main attention to the moon and gradually, adhering to the interesting point of the picture, looks at other parts of the picture in passing, and beyond that, not forgetting that this is a night that robs us of all reflection, then such a viewer will find that this picture is more finished than it should be.
Ivan Constantinovich Aivazovski. Moonlit night in Crimea. Gurzuf, 1839, 101×136.5 cm.
Konstantin Aivazovsky is not one of those artists who lose inspiration in the process and leave the work unfinished. But one day this happened to him too - he did not finish the painting "The Explosion of the Ship" (1900). Death intervened. This unfinished work especially valuable for researchers of his work. It allows you to understand what the artist considered the main thing in the picture, with the study of which elements he began work. We see that Aivazovsky began with the ship and the flame of the explosion - something that will take the viewer by the soul. And the artist left the details, on which the viewer will simply glide with his eyes, for later.
Ivan Constantinovich Aivazovski. Ship explosion. 1900
Ivan Constantinovich Aivazovski. Azure grotto. Naples. 1841
The modern viewer is sometimes discouraged by the intense color of Aivazovsky's paintings, his bright, uncompromising colors. There is an explanation for this. And this is not at all the bad taste of the artist.
Fragment of Ivan Aivazovsky's painting "Ship in the Stormy Sea" (Hermitage).
Today we look at the marinas of Aivazovsky in museums. Often these are provincial galleries, with a dilapidated interior and no special lighting, which is replaced by simple light from the window. But during the life of Aivazovsky, his paintings hung in rich living rooms and even in palaces. Under stucco ceilings, on walls pasted over with luxurious tapestries, in the light of chandeliers and candelabra. It is quite possible that the artist took care that his paintings were not lost against the background of colorful carpets and gilded furniture.
Connoisseurs say that Aivazovsky's night landscapes, which often look rustic in poor natural light or under rare lamps, come to life, become mysterious and noble, as the artist intended them to be, when viewed by candlelight. Especially those paintings that Aivazovsky painted by candlelight.
Artist Ivan Aivazovsky (Hovhannes Ayvazyan) is one of the greatest marine painters of all times, the poet of the water element, who left a significant mark on history Russian painting. "The sea is my life", - expressed with the names sea spaces captivate the viewer with their realism. The artist is called the inimitable genius of seascapes, the author of about 6,000 paintings, many of which went to charity.
The life of an inimitable marine painter
The artist was born on July 17, 1817 in the city of Feodosia in the family of an Armenian businessman, who soon went bankrupt. The urban beauties of the gently sloping shores predetermined its entire future. The boy's childhood passed in poverty, but at a young age Ivan showed abilities in music and drawing. Initially, the future artist studied at an Armenian parish institution, then at the Simferopol gymnasium.
In 1833, Aivazovsky became a student, where after he studied in the landscape class with M. N. Vorobyov. The predetermining role for the artist was the visit to F. Tanner, who has special skills in depicting water. The artist noticed the talent of the young man and took him to him, where he shared his techniques and skills.
The year 1837 became a decisive one. At this time, the name of the unique marine painter, Aivazovsky, often began to sound. Paintings with the names "Moonlight Night in Gurzuf" (1839) and "Sea Coast" (1840) were recognized by the teachers of the academies, for which the artist was awarded a medal.
Since 1840, he visited many countries where he actively worked, as a result of which he became popular. After returning, Aivazovsky was transferred to the main naval headquarters, and was also awarded the title of academician of the Academy of Arts. Later he actively attended European countries, where he contemplated the expanses of the world and gained new impressions.
In 1847, the artist was accepted into the ranks of honorary members of the St. Petersburg Academy of Arts. Throughout his life, Aivazovsky opened an art school, an art gallery, held more than 120 exhibitions.
Mastery and creativity of the genius of the sea element
The majesty and emotionality of sea battles are very clearly expressed in the work of Aivazovsky. Perhaps this is due to the phenomenal observation of the artist, because he never painted a picture from nature, but only took notes and notes. “The movements of living jets are elusive for the brush,” said Aivazovsky. Paintings with titles " Chesme battle”and“ The Ninth Wave ”, riddled with a cycle of actions, just emphasize the artist’s peculiarity of observing and subsequently reproducing events.
Amazing work speed
The unusualness of the artist can be traced not only in observation, but also in the speed of execution. Do a lot of work for such a short time could only Ivan Aivazovsky. Paintings with the names "Black Sea Landscape" and "Storm" the artist created in just 2 hours, and doing the work with a kind of technique. Particularly impressive are the sea battles depicted on the canvas, the plot of which is perceived in one breath. The drama turns into an expression of the spiritual warmth of light, which emphasizes the unusual style. Looking at the creations of the master, you literally feel this swiftness and whirlpool of waves. The transfer of mood proceeds with a slight duality of silence and rage. The significant success of the master lies in the transfer of realism of what is happening, because only a genius can depict the emotional composition of the sea element in this way.
The most popular creations of the artist
During the reforms of the sixties and seventies, art flourished. This time is considered to be the heyday just when Aivazovsky worked. Paintings with the names "Storm at Night" (1864) and "Storm on the North Sea" (1865) are considered the most poetic. Consider two Aivazovsky. Photos with names are presented below.
"The Ninth Wave" (1850)
The artist devoted 11 days to this painting. Initially, Nicholas I purchased the work for the Hermitage. In 1897, the canvas was transferred to the State Russian Museum. The work "Clouds over the sea, calm" is also in the State Russian Museum in St. Petersburg.
"Clouds over the sea, calm" (1889)
Looking at the sea surface, the majesty of clouds and air space, we can see how multifaceted the light spectrum is. Light in his works is nothing but a symbol of life, hope and eternity. We see how unique the master's creations are. This artist remains the most famous and favorite among the audience to this day.
Why is the Aivazovsky Sea so alive, breathing and transparent? What is the axis of any of his paintings? Where should we look to enjoy his masterpieces to the fullest? As he wrote: is it long, short, joyful or painful? And what does impressionism have to do with Aivazovsky?
Of course, Aivazovsky was born a genius. But there was also a craft that he mastered brilliantly and in the intricacies of which one wants to understand. So, from what were the sea foam and lunar paths of Aivazovsky born? ..
Ivan Constantinovich Aivazovski. Storm on rocky shores. 102×73 cm.
"Secret colors", Aivazovsky wave, glazing
Ivan Kramskoy wrote to Pavel Tretyakov: “Aivazovsky probably has the secret of composing paints, and even the paints themselves are secret; I have never seen such bright and pure tones even on the shelves of Muscat shops. Some of Aivazovsky's secrets have come down to us, although the main one is not a secret at all: in order to write the sea like that, you need to be born by the sea, live a long life near it, for which you never get fed up with it.
The famous “Aivazovsky wave” is a foamy, almost transparent sea wave, which feels like it is moving, swift, alive. The artist achieved transparency using the glazing technique, that is, applying the thinnest layers of paint on top of each other. Aivazovsky preferred oil, but often his waves seem like watercolors. It is as a result of glazing that the image acquires this transparency, and the colors seem very saturated, but not due to the density of the stroke, but due to the special depth and subtlety. Aivazovsky's virtuoso glazing is a delight for collectors: most of his paintings are in excellent condition - the thinnest layers of paint are less prone to cracking.
Aivazovsky wrote rapidly, often creating works in one session, so his glazing technique had author's nuances. Here is what Nikolai Barsamov, long-term director of the Feodosia Art Gallery and the greatest connoisseur of Aivazovsky’s work, writes about this: “... he sometimes glazed water over a semi-dry underpainting. Often the artist glazed the waves at their base, which gave depth and strength to the colorful tone and achieved the effect of a transparent wave. Sometimes glazing darkened significant planes of the picture. But glazing in Aivazovsky's painting was not an obligatory last stage of work, as was the case with the old masters with the three-layer method of painting. All his painting was basically carried out in one step, and glazing was often used by him as one of the ways to apply a paint layer on white ground at the beginning of work, and not just as final registrations at the end of work. The artist sometimes used glazing at the first stage of work, covering significant planes of the picture with a translucent layer of paint and using the white ground of the canvas as a luminous lining. So sometimes he wrote water. Skillfully distributing a layer of paint of various densities over the canvas, Aivazovsky achieved a true transmission of the transparency of water.
Aivazovsky turned to glazes not only when working on waves and clouds, but with their help he was able to breathe life into the land. “Aivazovsky painted earth and stones with coarse bristly brushes. It is possible that he specially trimmed them so that the hard ends of the bristles left furrows on the paint layer., - says art critic Barsamov. — The paint in these places is usually laid in a dense layer. As a rule, Aivazovsky almost always glazed the ground. The glazing (darker) tone, falling into the furrows from the bristles, gave a kind of liveliness to the colorful layer and greater reality to the depicted form.
As for the question “Where did the colors come from?”, it is known that in recent years he bought paints from the Berlin company Mewes. Everything is simple. But there is also a legend: as if Aivazovsky bought paints from Turner. Only one thing can be said about this: it is theoretically possible, but even if so, Aivazovsky definitely did not paint all 6,000 of his works with Turner paints. And the picture that the impressed Turner dedicated the poem to was created by Aivazovsky even before he met the great British marine painter.
Ivan Constantinovich Aivazovski. Bay of Naples on a moonlit night. 1842, 92×141 cm.
“In your picture I see the moon with its gold and silver, standing above the sea, reflected in it. The surface of the sea, on which a light breeze catches up with a quivering swell, seems to be a field of sparks. Forgive me, great artist, if I made a mistake in mistaking the picture for reality, but your work fascinated me, and delight took possession of me. Your art is eternal and powerful, because you are inspired by genius", - poems by William Turner about Aivazovsky's painting "The Bay of Naples on a moonlit night."
Ivan Constantinovich Aivazovski. Among the waves. 1898, 285×429 cm.
The main thing is to start, or At the pace of Aivazovsky
Aivazovsky always began work with the image of the sky, and he wrote it in one go - it could be 10 minutes or 6 hours. He painted the light in the sky not with the side surface of the brush, but with its end, that is, he “illuminated” the sky with numerous quick touches of the brush. The sky is ready - you can relax, get distracted (however, he allowed himself this only with paintings that took a lot of time). The sea could write in several passes.
To work on a painting for a long time in the view of Ivan Aivazovsky is, for example, to paint one canvas for 10 days. That is how much it took the artist, who at that time was 81 years old, to create his largest painting - "Among the Waves". At the same time, according to his confession, his whole life was a preparation for this picture. That is, the work required maximum effort from the artist - and for ten whole days. But in the history of art, it is not uncommon for paintings to be painted for twenty or more years (for example, Fyodor Bruni painted his “Copper Serpent” for 14 years, started in 1827, and finished in 1841).
In Italy, Aivazovsky at a certain period made friends with Alexander Ivanov, the same one who wrote The Appearance of Christ to the People for 20 years, from 1837 to 1857. They even tried to work together, but soon quarreled. Ivanov could work on a sketch for months, trying to achieve the special accuracy of a poplar leaf, while Aivazovsky managed to walk all around and paint several pictures during this time: “I can’t write quietly, I can’t pore for months. I don’t leave the picture until I speak out ”. Such different talents, different ways to create - hard labor and joyful admiration of life - could not stay close for long.
Ivan Aivazovsky next to his painting, photograph, 1898.
Aivazovsky at the easel.
“The atmosphere of the workshop was exceptionally simple. In front of the easel was a simple chair with a wicker reed seat, the back of which was plastered with a rather thick layer of paint, since Aivazovsky had a habit of throwing his hand with a brush behind the back of the chair and sitting half a turn to the picture, looking at it, ”- from the memoirs of Konstantin Artseulov , this grandson of Aivazovsky also became an artist.
Creativity as joy
Aivazovsky's muse (forgive us this pompousness) is joyful, not painful. " By the ease, the apparent ease of the movement of the hand, by the contented expression on the face, one could safely say that such work is a real pleasure., - these are the impressions of an official of the Ministry of the Imperial Court, writer Vasily Krivenko, who watched how Aivazovsky worked.
Aivazovsky, of course, saw that for many artists their gift is either a blessing or a curse, other paintings are written almost with blood, exhausting and exhausting their creator. For him, approaching the canvas with a brush has always been the greatest joy and happiness, he gained special lightness and omnipotence in his workshop. At the same time, Aivazovsky carefully listened to practical advice, did not dismiss the comments of people whom he valued and respected. Although not enough to believe that the lightness of his brush is a drawback.
Plein air VS workshop
Only the lazy did not talk about the importance of working with nature in those years. Aivazovsky, on the other hand, preferred to make fleeting sketches from life, and write in the studio. “Preferred”, perhaps, is not quite the right word, it's not about convenience, it was his principled choice. He believed that it was impossible to depict from nature the movement of the elements, the breath of the sea, the peals of thunder and the flashing of lightning - and that was what interested him. Aivazovsky had a phenomenal memory and considered his task "in nature" to absorb what was happening. Feeling and remembering, in order to return to the studio, throw out these feelings on the canvas - that's why nature is needed. At the same time, Aivazovsky was an excellent copyist. During training with Maxim Vorobyov, he demonstrated this skill to the fullest. But copying - at least someone's paintings, even nature - seemed to him much less than he was able to do.
Ivan Constantinovich Aivazovski. Amalfi Bay in 1842. Sketch. 1880s
Ivan Constantinovich Aivazovski. Coast in Amalfi. 105×71 cm.
About the rapid work of Aivazovsky and what his sketches from nature were, the artist Ilya Ostroukhov left detailed memories:
“I accidentally got acquainted with the manner of performing artworks by the late famous marine painter Aivazovsky in 1889, during one of my trips abroad, in Biarritz. At about the same time that I arrived in Biarritz, Aivazovsky also arrived there. The venerable artist was already then, as I remember, about seventy years old ... Having learned that I was well acquainted with the topography of the area, [he] immediately pulled me for a walk along the ocean shore. The day was stormy, and Aivazovsky, fascinated by the view of the ocean surf, stopped on the beach ...
Without taking his eyes off the ocean and the landscape of the distant mountains, he slowly took out his tiny notebook and drew only three lines with a pencil - the outline of the distant mountains, the line of the ocean at the foot of these mountains, and the line of the coast from himself. Then we went on with him. After walking about a verst, he stopped again and made the same drawing of several lines in the other direction.
- Cloudy day today Aivazovsky said, and you, please tell me only where the sun rises and sets here.
I pointed. Aivazovsky put a few dots in the book and hid the book in his pocket.
- Now let's go. For me this is enough. Tomorrow I will paint the ocean surf in Biarritz.
The next day, three spectacular pictures of the sea surf were really written: in Biarritz: in the morning, at noon and at sunset ... "
Ivan Constantinovich Aivazovski. Biarritz. 1889, 18×27 cm.
Aivazovsky's sun, or what does impressionism have to do with it
The Armenian artist Martiros Saryan noted that no matter how grandiose the storm Aivazovsky portrayed, in the upper part of the canvas a ray of light will always break through the accumulation of thunderclouds - sometimes clear, sometimes thin and barely noticeable: “It is in him, this Light, that the meaning of all the storms depicted by Aivazovsky lies.”
Ivan Constantinovich Aivazovski. Storm in the North Sea. XX, 202×276 cm.
Ivan Constantinovich Aivazovski. Moonlight night. 1849, 192×123 cm.
Ivan Constantinovich Aivazovski. Bay of Naples on a moonlit night. 1892, 73×45 cm.
Ivan Constantinovich Aivazovski. Ship "Empress Maria" during a storm. 1892, 224×354 cm.
Ivan Constantinovich Aivazovski. Moonlit night in Capri. 1841, 26×38 cm.
If it is the sun, then it will illuminate the blackest storm, if it is a lunar path, then it will fill the entire canvas with its flicker. We are not going to call Aivazovsky either an impressionist or a forerunner of impressionism. But let us quote the words of the patron Alexei Tomilov - he criticizes the paintings of Aivazovsky: “The figures are sacrificed to such an extent that it is not recognizable: in the foreground they are men or women (...) air and water flaunt”. We say about the Impressionists that the main characters of their paintings are color and light, one of the main tasks is the transmission of light-air mass. In the works of Aivazovsky, light is in the first place, and yes, quite right, air and water (in his case, this is about the sky and the sea). Everything else is built around this main thing.
He strives not only to portray plausibly, but to convey sensations: the sun should shine so that you want to close your eyes, the viewer will shrink from the wind, recoil from the wave in fright. The latter, in particular, was done by Repin, when Aivazovsky suddenly opened the door of the room in front of him, behind which stood his "Ninth Wave".
Ivan Constantinovich Aivazovski. Ninth shaft. 332×221 cm.
How to look at Aivazovsky's paintings
The artist gave absolutely unambiguous recommendations: you should look for the brightest point on the canvas, the source of light, and, peering intently at it, slide your eyes over the canvas. For example, when he was reproached that "Moonlight Night" was not finished, he argued that if the viewer " will turn his main attention to the moon and gradually, adhering to the interesting point of the picture, will glance at the other parts of the picture in passing, and beyond this, not forgetting that this is a night that deprives us of any reflections, then such a viewer will find that this picture is more finished than how should".
Ivan Constantinovich Aivazovski. Moonlit night in Crimea. Gurzuf, 1839, 101×136.5 cm.
Ivan Constantinovich Aivazovski. Explosion of the shipKonstantin Aivazovsky is not one of those artists who lose inspiration in the process and leave the work unfinished. But one day this happened to him too - he did not finish the painting "The Explosion of the Ship" (1900). Death intervened. This unfinished work is especially valuable for researchers of his work. It allows you to understand what the artist considered the main thing in the picture, with the study of which elements he began work. We see that Aivazovsky began with the ship and the flame of the explosion - something that will take the viewer by the soul. And the artist left the details, on which the viewer will simply glide with his eyes, for later.
Ship explosion. 1900
Ivan Constantinovich Aivazovski. Azure grotto. Naples. 1841, 100×74 cm.
The modern viewer is sometimes discouraged by the intense color of Aivazovsky's paintings, his bright, uncompromising colors. There is an explanation for this. And this is not at all the bad taste of the artist.
Today we look at the marinas of Aivazovsky in museums. Often these are provincial galleries, with a dilapidated interior and no special lighting, which is replaced by simple light from the window. But during the life of Aivazovsky, his paintings hung in rich living rooms and even in palaces. Under stucco ceilings, on walls pasted over with luxurious tapestries, in the light of chandeliers and candelabra. It is quite possible that the artist took care that his paintings were not lost against the background of colorful carpets and gilded furniture.
Connoisseurs say that Aivazovsky's night landscapes, which often look rustic in poor natural light or under rare lamps, come to life, become mysterious and noble, as the artist intended them to be, when viewed by candlelight. Especially those paintings that Aivazovsky painted by candlelight.
