When the picture of the Aivazovsky Sea Koktebelskaya bay was written. Aivazovsky without the sea

Sea and Aivazovsky now for an hour and a half - synonyms. We say "Ayvazovsky" - we present the sea, and seeing sea sunset or storm, sailboat or a foaming surf, a calm or a sea breeze, say: "Clean Aivazovsky!"

Do not find out avazovsky difficult. But today "Arthive" will show you Aivazovsky rare and little-known. Aivazovsky unexpected and unusual. Aivazovsky, whom you may not even immediately recognize. In short, Aivazovsky without the sea.

Winter landscape. Ivan Konstantinovich Aivazovsky, 1880s

This is a graphic self-portrait of Aivazovsky. Perhaps, here he is unrecognizable. And more similarly not to its own picturesque images (see below), but on a good friend, together with which in youth challenged in Italy, - Nikolai Vasilyevich Gogol. Self-portrait on the left - nor give neither Gogol, writing the "dead souls" behind the dated drafts table.

Another busy is a self-portrait on the right. Why not with a palette and brushes, but with a violin? Because the violin has been a lot of awasy girlfriend for many years. Nobody remembered who presented it with 10-year-old Hovhannes, a boy from a large and poor family of Armenian immigrants in Feodosia. Of course, to hire teachers to parents were not affordable. But it was not needed. Hovhannes learned to play the wandering musicians on the Feodosi Bazaar. Hearing him turned out to be magnificent. Aivazovsky could pick up any tune in hearing any melody.

The violin, a novice artist brought with him to St. Petersburg, played "for the soul." Often, visiting, when Hovhannes started acquaintances and began to be in the world, he was asked to play a violin. Possessing a prime character, Aivazovsky never refused. In the biography of the composer Mikhail Glinka, written by Vsevolod Asspensky, there is such a fragment: "Once at the puppeteer, Glinka met with a student of the Aivazovsky Art Academy. He sang the wild Crimean song, sitting in Tatar on the floor, swinging and holding a violin at the chin. Aivazovsky's Tatar jackets really liked Glinka, his imagination was attracted from her youth ... Two pitches were entered over time in Lezginka, and the third - in the Ruslan and Lyudmila Opera and Lyudmila opera.

Violin Aivazovsky will take with him everywhere. On the ships of the Baltic squadron, his game entertained the sailors, the violin sang them about the warm seas and a better life. In St. Petersburg, first seeing his future wife Julia Grevs in a secular reception (she was just a governess of master kids), Aivazovsky did not decide to introduce themselves - instead, he will again take a violin again and drag the serenade on Italian.

An interesting question: why in the picture Ivazovsky does not rest in the violin in the chin, and keeps her like a cello? Biographer Julia Andreeva explains this feature as follows: "According to numerous testimonies of contemporaries, he kept the violin to the eastern manner, supervised it into the left knee. So he could simultaneously play and sing. "

Self-portrait Ivan Aivazovsky, 1874

And this self portrait of Aivazovsky is simply for comparison: unlike not so widely known previous ones, he is probably familiar to the reader. But if at first Ayvazovsky reminded Gogol, then on this, with chunky bucknbards - Pushkin. By the way, Natalia Nikolaevna, the poet's wife was also of this opinion. When Pushkin's readings at the exhibition at the Academy of Arts presented Aivazovsky, Natalia Nikolaevna kindly noticed that the artist his appearance very much reminds her portraits of young Alexander Sergeevich.

Petersburg. Crossing through the Neva. Ivan Konstantinovich Aivazovsky, 1870s

With the first (and if you discard legends - then the only one) meeting Pushkin asked Aivazovsky two questions. First - when you meet more than predictable: where does the artist come from? But the second is unexpected and even somewhat familiar. Pushkin asked Aivazovsky, does he frozen, southern man, in St. Petersburg? I would know Pushkin, how much was right. All winters at the Academy of Arts, Young Ohannes, really catastrophically Merz.

Dresventors are walking through the halls and classes, teachers are hung in the down shawls. At the 16-year-old Hovhannes Aivazovsky, adopted in the class of Professor Maxim Vorobyeva, the abnormal fingers are eager from the cold. He will be angry, rushes in at all heating, evained the paint jacket, coughes all the time.

Especially difficult at night. The battle-trained moth does not allow to warm up. All members are shooting chills, the tooth falls on the tooth, for some reason, it is especially freezing ears. When the cold does not allow to fall asleep, Aivazovsky student recalls Theodosius and the warm sea.

Headquarters Overlch Rocked by the President of the Academy of Ownnin's reports about the unsatisfactory health of Hovhannes: "Academician Ayvazovsky, was translated several years before Sen in St. Petersburg from the southern edge of Russia and it was from the Crimea, from the very stay of him always felt like an unhealthy and many times already use him I was me in the academic climb, suffering, both before this, and now, in breastning pain, a dry cough, shut down when climbing stairs and strong heartbeat. "

Is it not because "crossing through the Neva", rare for the creativity of the Aivazovsky Petersburg landscape, looks like teeth drives from imaginary cold? It was written in 1877, the Academy long ago behind, and the feeling of penetrating the jewelry of Northern Palmyra was left. The giant ice floes on the Neva took up. Through cold mallic paints of the purple sky, an admiralty needle appears. Cold tiny people in a wagon. Zyabko, anxious - but also fun. And it seems so much new, unknown, interesting - there, ahead, for the vehicle of the injured air.

The betrayal of Judas. Ivan Konstantinovich Aivazovsky, 1834

The State Russian Museum in St. Petersburg carefully keeps the sketch of the Aivazovsky "betrayal of Judas". It is made on gray paper by Bellyl and Italian pencil. In 1834, Aivazovsky prepared a picture on the biblical topic on the task of the Academy. Hovhannes was quite hidden by nature, loved to work alone and completely did not comprehend, as his idol Karl Brullov was able to write with any cluster of the people.

Aivazovsky, on the contrary, preferred privacy for work, so when he filed comrades at the Academy "betrayal of Judas", it turned out to be a complete surprise for them. Many simply could not believe that the 17-year-old provincial only in the second year of learning is capable of such.

And then his ill-wishers came up with an explanation. Does Aivazovsky disappears all the time at the collector and patronage of Alexey Romanovich Tomilov? And that in the meeting and the Brullers there is, and Poussin, and Rembrandt, and there is no one else. Surely Hitrhomudrya Hovhannes simply copied there a picture of some little-known European master in Russia and issued for his own.

Fortunately for Aivazovsky, the President of the Academy of Arts Aleksey Nikolayevich Olenin was about the "betrayal of Judah" of another opinion. Olenina was so impressed by the skill of Hovhannes that he honored him with high mercy - invited him to swim in him in the estate shelter, where Pushkin and Wings, Borovikovsky and Venetsian, Cyprusovsky and Brullov Brothers were visited. Honor for the novice academic unheard of.

Eastern scene. Coffee shop at the oracti mosque in Constantinople. Ivan Konstantinovich Iivazovsky, 1846

By 1845, 27-year-old Aivazovsky, whose marine landscapes would already rise throughout Europe from Amsterdam to Rome, give a tribute to Russia. He receives "Anna on the neck" (Order of St. Anne 3rd degree), the title of academician, 1500 tents of the Earth in the Crimea in 99-year use and the main thing - the official naval uniform. The Maritime Ministry for merits to the Fatherland appoints Aivazovsky the first painter of the Chief Maritime Staff. Now Aivazovsky is obliged to pass into all Russian ports and all ships, wherever he wanted to get. And in the spring of 1845, at the insistence of the Grand Duke Konstantin, Nikolayevich artist included the admiral of the admiral to Turkey and Malaya Asia.

By the time the Aivazovsky had already broke the whole of Europe (in his foreign passport, more than 135 visas, and customs officers were tired of playing new pages there), but there were not yet on the lands of Ottomans. For the first time he sees Chios and Patmos, Samos and Rhodes, Sinop and Smyrna, Anatoly and Levant. And the most of all I was impressed by Constantinople: "My Voyage," Ivazovsky wrote, "with his imperial high-time Konstantin Nikolayevich, I had an extremely pleasant and interesting, everywhere I managed to sketchie etudes for paintings, especially in Constantinople, from which I am in admiration. Probably there is nothing in the world's majestic in this city, Naples, and Venice are forgotten there.

"Coffee shop at the oracti mosque" is one of Konstantinople, written by Aivazovsky after this first trip. In general, Aivazovsky's relationship with Turkey is a long and difficult story. He will visit Turkey more than once. The artist was very valued by the Turkish rulers: in the 1856th Sultan Abdul-Medzhid I noted by his Order of Nitzhan Ali. 4th degrees, in the 1881th Sultan Abdul-Hamid II - a diamond medal. But between these awards was the Russian-Turkish war of 1877, during which the shell was partially destroyed by the house of Aivazovsky in Feodosia. However, it is significant that a peace treaty between Turkey and Russia subscribed to the hall decorated with the pictures of Aivazovsky. Former in Turkey, Aivazovsky became particularly warmly communicated with Armenians living in Turkey, they were respectfully called His Ayvaz Efendi. And when in the 1890s, the Turkish Sultan will learn a monstrous massacre in which thousands of Armenians will die, Aivazovsky demonstratively sporals Ottoman awards at sea, saying that the same advises to make Sultan with his paintings.

"Coffee shop at the orphan mosque" Aivazovsky is the perfect image of Turkey. Perfect - because peaceful. Relaxingly recreated on embroidered pillows and plunged into contemplation, the Turks drink coffee, inhale hookah smoke, hesitate to unobtrusive melodies. Complete molten air. Time flows between fingers like sand. No one hurries anywhere - there is no need to rush: everything necessary for the completeness of being is already focused in the present moment.

Windmills in the Ukrainian steppe at sunset. Ivan Konstantinovich Aivazovsky, 1862

It is impossible to say that Aivazovsky in the landscape "Windmills in the Ukrainian steppe ..." are unrecognizable. The wheat field in the sunset rays is almost like the sinking surface of the sea, and the mills are the same frigates: some wind inflates sails, others - the blades rotates. Where and, most importantly, when Aivazovsky could distract from the sea and interested in the Ukrainian steppe?

Return from the wedding. Ivan Konstantinovich Aivazovsky, 1891

Chumaks on vacation. Ivan Konstantinovich Aivazovsky, 1885

Perhaps when for a short time transported his family from Feodosia to Kharkov? And not idle transported, but hastily evacuated. In 1853, Turkey declared war of Russia, in March 1854 England and France joined it - the Crimean War began. In September, the enemy was already in Yalta. Aivazovsky needed to urgently save his relatives - wife, four daughters, old mother. "With peaceful regret," the artist reported to one of the correspondents, "we had to leave the sweet of our Crimea, leaving all our condition acquired by your works in the continuation of fifteen years. In addition to his family, Mother 70 years old, should have taken with him and all their relatives, we stopped in Kharkov, as the nearest city to the south and inexpensive for modest life. "

The biographer writes that in a new place the wife of Aivazovsky Julia Grevs, before that, actively helped her husband in Crimea in his archaeological excavations and ethnographic surveys, "tried to captivate Aivazovsky archeology or scenes of the Malorosiysk residents." After all, Julia wanted her husband and father to stay with his family longer. It did not come out: Aivazovsky rushed into a deposited Sevastopol. For several days under bombardes, he wrote the sea battles from nature, and only a special order of Vice Admiral Kornilov forced a fearless artist to leave the theater of hostilities. Nevertheless, in the heritage of Aivazovsky there are quite a few ethnographic genre scenes and Ukrainian landscapes: "Chumaks on vacation", "Wedding in Ukraine", "Winter scene in Malororsia" and others.

Portrait of the Senator Alexander Ivanovich Treaschaeff, the leader of the nobility of the Tavrichesky province. Ivan Konstantinovich Aivazovsky, 1848

Portraits Aivazovsky left relatively small. But this lord he wrote more than once. However, it is not surprising: Alexander Ivanovich Treaschaeva artist considered the "second father." When Aivazovsky was still small, the treasureev served as the Feodosi Grador. In the late 1820s, complaints became increasingly to be received: in the city, someone Shalit - paints fences and whitewash lime walls of houses. The darker drove to inspect art. The figures of soldiers, sailors and silhouettes of ships induced by self-friendly coal were blocked on the walls, - it must be said, very and very believable. After some time, the urban architect Koch told Treaschadeov, which calculated the author of these "graffiti". It was 11-year-old Hovhannes, the son of the bazaar headman Gevorork Gaivazovsky.

"Draw, you are fine," agreed, having met with the "criminal", treasurers, - But why on other people's fences?! " However, he realized that Aivazovsky so doubts that they could not buy the son of drawing accessories. And Treaschai did it himself: instead of punishment, he gave Hovhannes a stack of good paper and paint box.

Hovhanses began to be in the house of the city chart, made friends with his son Sasha. And when in 1830, the Treaschairs became the Governor of Tavria, he took the Aivazovsky, who turned into a family member, in Simferopol, so that the boy could learn in the gymnasium there, and three years later she put her all efforts so that Hovhannes was enrolled in the Imperial Academy of Arts.

When the growing and famous Aivazovsky will forever return to live in Crimea, he will support friendly relations with Alexander Ivanovich. And even in some sense, it will be to imitate his "named father", intensively guarding the poor and disadvantaged and founding the "common workshop" - art school for local talented youth. And the Iivazovsky on his own project and for personal funds will be erected in honor of the treasury in Feodosia Fountain.

Caravan in an oasis. Egypt. Ivan Konstantinovich Aivazovsky, 1871

On November 17, 1869, the Suez Canal was opened for shipping. Possed through the Egyptian deserts, he joined the Mediterranean and Red Sea and became the conditioned border between Africa and Eurasia. Skip such an event in the curious and still greedy to impressions 52-year-old Aivazovsky could not. He arrived in Egypt as part of the Russian delegation and became the first marinist in the world who wrote a Suez Canal.

"Those pictures in which the main force is the light of the Sun ... you need to consider the best," Aivazovsky was always convinced. And just the sun in Egypt, it was in excess - only work. Palms, sands, pyramids, camels, distant desert horizons and "caravan in an oasis" - all this remained in the pictures of Aivazovsky.

And the artist left the advanced memories of the first meeting of the Russian song and the Egyptian desert: "When the Russian steamer entered the Suez Canal, ahead of his steamed ahead, the swimmers were forced to wait, as long as the swimmers were forced. This stop lasted hours five.

There was a wonderful moonlight night, which attached some kind of beauty to the deserted banks of the ancient country of Pharaohov, which was rejected by the Canal from the Asian coast.

To reduce the time, passengers of the Russian steamhouse staged an improvised vocal concert: Ms. Kireeva, possessing a wonderful voice, assumed the duties of the fought, a slim choir picked up ...

And on the shores of Egypt, the song about the "Mother Volga" sounded, about the "Dark Forest", about the "pure field" and rushed along the waves, a walked moon, brightly fed on the turn of two parts of the world ... "

Catholicos Chrymyan in the vicinity of Echmiadzin. Ivan Konstantinovich Aivazovsky, 1895

Portrait of a brother of the artist Gabriela Aivazyan. Ivan Konstantinovich Aivazovsky, 1883

The baptism of the Armenian people. Grigor-enlightener (IV century) Ivan Konstantinovich Aivazovsky, 1892

Perhaps someone will be in a novelty to find out that Ivan Konstantinovich Aivazovsky was a true jealous of the Armenian Apostolic Church, one of the oldest, by the way, Christian churches. The Armenian Christian community was both in Feodosia, and the Synod was located in the "Heart of Armenia" - the city of Echmiadzin.

The elder brother of Aivazovsky Sargis (Gabriel) became a monk, then Archbishop and an outstanding Armenian enlightener. For the very artist, his religious affiliation was not at all empty formality. About the most important events of his life, for example, about the wedding, he informed Echmiadzin Synod: "He married on August 15, 1848 at Julia, Yakov's daughter, Grevs, English-Lutheran, but was married in the Armenian Church and with the condition that my children from this marriage They will also be baptized in the Armenian Holy Found. "

When family life is divided into, Aivazovsky will have to ask for permission to dissolve.

In 1895, a high guest - Katalikos Chrymyan, head of the Armenian Church arrives in Feodosiya to Aivazovsky. Aivazovsky drove it into the old Crimea, where he built a new one on the spot of destroyed churches and even wrote an altar image for her. At a solemn lunch, 300 people in Feodosia Catholicos promised to the artist: "I, Khriyan Aik, in one hand - a cross, in the other - the Bible, I will pray for you and for my poor Armenian people." In the same year, inspired by Aivazovsky will write the picture "Catholicos Chrymyan in the vicinity of Echmiadzin."

After five years, 82-year-old Aivazovsky will not. His grave at the foundation of the ancient temple decorates the inscription in Armenian: "Born mortals, left the immortal memory."

Anna Nikitichna Burnazyan Sarkizov, the second wife I.K. Aivazovsky. Ivan Konstantinovich Aivazovsky, 1882

It would be unfair to finish our story about the pictures of Aivazovsky, where the sea is missing, the death of the artist. Especially, raised many important biographical mileters, we never talked about love.

When Aivazovsky had no 65 years old, he fell in love. Moreover, it fell in love quite in a boyish, at first sight and in the circumstances, least of all who had to romantics. He drove in the crew through the streets of Feodosia and crossed with the funeral procession, which was tightened into a black young beautiful woman. The artist believed that in his native Feodosia, everyone knows the names, but he seemed to see it for the first time and did not even know who she had to have a deceased her daughter, her sister, his wife. Brought references: it turned out - a widow. 25 years. The name is Anna Sarkizov, in the greatness of Bournazyan.

The late husband left Anna the estate with a wondrous garden and great wealth for the Crimea - a source with fresh water. It is quite a wealthy, self-sufficient woman, besides, for 40 years younger Ayvazovsky. But when the artist, tremble and not believing in possible happiness, made her an offer, Sarkizova accepted him.

A year later, Ayvazovsky recognized a friend in the letter: "I marked in marriage with one Mrs. in the widow-Armenian. Previously, I was not familiar with her, but I heard prematurely about her name. To live now I have become calm and happily. With the first wife, for 20 years I have not live and see for me for 14 years. Five years ago, Echmiadzinsky Synod and the Catholicos allowed me a divorce ... But I was very afraid to tie my life with a woman of another nation, in order not to pour in order. This happened to God's grace, and I am very grateful to congratulations. "

17 years they will live in love and harmony. As in his youth, Aivazovsky will be much and incredibly productively writing. And he also will have time to show the favorite Ocean: on the 10th year of marriage they will swim in America through Paris, and, by legend, this beautiful couple will often be the only people on a ship that are not subject to seaside disease. While the majority of passengers, covering in the cabins, have listened to a hatching and storm, Aivazovsky and Anna serenely adopted by sea expanses.

After the death of Aivazovsky Anna for more than 40 years (and she will live to 88-mi) will become a voluntary closer: no guests, nor interview, nor even more attempts to arrange a personal life. There is something volitional and at the same time mysterious in the look of a woman whose face half hides a gas veil, so similar to the translucent surface of the water with sea landscapes of her great husband, Ivan Aivazovsky.

The romantic motifs of works are very brightly visible in the painting of Aivazovsky. With each picture of this master, the viewer understands that his creative energy could not exhaust himself. After all, the pictures of Aivazovsky can be rightfully called the majestic and emotional masterpieces of the 19th century.

Especially impressive sea battles displayed on the canvas. Their palette, lines and shapes are filled with heroic pathos, but despite this, the plot of works of this artist is perceived in one breath. From the first moment, literally feel cold and foaming the whirlpool of the waves, and with a little excitement and adherence, you follow how the huge boiling sea is fighting, a slightly embroidered ship. Only a brilliant artist could create such emotional compositions, among which the incomparable canvas "among the waves" stands out by their improvisational style. Here brightly depicts a raging deadly element. Under the stormy sea and a thunderstorm sky, with a slightly flashing rays of the sun, literally see numerous ships in maritime expanses.

With every smear of the artist, the paintings of the Aivazovsky transmitting more and more drama. And the success of the master is just in tremendous opportunities to transfer the shocking realism of what is happening. The viewer seems to begin to see through the boundless expanses of the waves, where the wreckage of dead ships are shown. You can safely say with such magnificent works that the paintings of Aivazovsky are works in love with the nature and sea of \u200b\u200ba magnificent master. He managed to maintain unforgettable expression and the charm of spiritual warmth and light on every canvas. And it is this loyalty to an unusual style and exciting plots captivates every connoisseur of the master's master's talent.

Ivan Konstantinovich Aivazovsky (ARM. Հովհաննես կոստանդինեսի հայվազյան - Oganes Gaivazyan; 17 (29) of July 1817 - May 2, 1900) - World-famous Russian marinist artist, collector, patron. The most outstanding artist-Armenian XIX century. Brother of the Armenian historian and priest Gabriela Aivazovsky.

Ovanesis (Ivan Konstantinovich) Aivazovsky was born in the family of the merchant Konstantin (Gevorg) and Ripsema Gaivazovsky. 17 (29) July 1817, the priest of the Armenian Church of the city of Feodosia made an entry that Konstantin (Gevorg) Gaivazovsky and his wife Ripseyme was born "Ovanen, son of Gevorg Aivazyan." Avazovsky's ancestors were from the Galic Armenians who moved to Galicia from Turkish Armenia) in the XVIII century.

Ivan Aivazovsky - Lord of Marine Element

The sea has always fascinated and admired a man with its incredible, charming beauty. Of course, it attracted many artists. Painters, masters of landscapes inspired by beautiful marine species and transferred their emotions from what he saw on canvases.

Undoubtedly, Ivan Konstantinovich Aivazovsky was one of the greatest marine artists of all time. Born in Feodosia, Aivazovsky felt the sea attracts him. He studied at the Academy of Arts and visited Ivan Konstantinovich in a variety of European countries experienced the influence of French classicism. Despite the fact that the artist has paintings with land scenery, the sea for him is a real native element. He understands and reveals it better than anyone else. Aivazovsky with ease transmits the viewer "mood" of sea water: their duality, silence or rage. His paintings simply entertain. Looking at the canvas, the viewer is ready to simply dissolve in marine patches.

Numerous landscapes, imprinted sunrises and sunsets on the sea are simply ambitious. Heavenly purity and radiance of solar reflections on a silent water surface in the picture "Morning at sea" (1851), charming contrast of the sunset paintings "Brig Mercury after a victory over Turkish ships" (1848) or a bright sunset spot against the background of formidable, raging waves in the picture " The ninth shaft "(1850). On many canvases, Ayvazovsky showed the sea as a formidable element, with its huge foaming waves and the rebellion.

Due to what kind of Aivazovsky is such a living, breathable and transparent? What is the axis of any picture? Where do we look to enjoy his masterpieces fully? How he wrote: how long is it briefly, happily or painfully? And what do I have impressionism to Aivazovsky?

Of course, Ivan Konstantinovich Aivazovsky was born by a genius. But there was still a craft that he owned brilliantly and in the intricacies of which I want to figure it out. So, from what the sea foam and moon tracks of Aivazovsky were born?

Ivan Constantinovich Aivazovski. Storm at the rocky shores.

"Secret Paints", Wave Aivazovsky, Lesstation

Ivan Kramskaya wrote Pavel Tretyakov: "Ayvazovsky probably has the secret to compose of paints, and even the paints themselves are secret; I have not seen such bright and clean tones even on the shelves of moskal shops ". Some secrets of Aivazovsky reached us, although the main is not a mystery at all: in order to write the sea so much, you need to be born by the sea, live a long life for him, for which they do not even be happy.

The famous "Aivazovsky wave" is a foaming, almost transparent sea wave, in sensations - moving, rapid, alive. Transparency The artist reached using the lesser technique, that is, causing the finest layers of paint on each other. Aivazovsky preferred oil, but often his waves seem watercolor. It is as a result of the lescing that the image acquires this transparency, and the color seems very saturated, but not due to the density of the smear, but due to the special depth and subtleties. Virtuoso lescing performed by Aivazovsky - Otrada for collectors: most of its paintings in excellent condition - the finest colorful layers are less susceptible to cracking.

Ivazovsky wrote rapidly, often created works in one session, so his technique lesser was the author's nuances. This is what Nikolai Barsamov, a long-term director of the Feodosian art gallery and the largest connoisseur of Aivazovsky's creativity: "... he sometimes licked the water on semi-dry foamile. Often the artist lusted the waves at their base, which attached depth and strength to a colorful tone and reached the effect of a transparent wave. Sometimes the lesses were pretended by significant pictures of the picture. But the lesser in the painting of Aivazovsky was not a mandatory last stage of work, as was the old masters in the three-layer method of painting. His painting was mainly carried out in one apparatus, and the lesser was often used by him as one of the ways to impose a colorful layer on a white soil at the beginning of work, and not only as final registration at the end of work. Fastener The artist sometimes used at the first stage of work, covering the translucent paint layer significant planes of the picture and using a white canvas soil as a luminous lining. So sometimes he wrote water. Skillfully distributing a colorful layer of different density on the canvas, Aivazovsky reached the truthful transparency of the transparency of water. "

Avazovsky addressed the lesters not only when working on waves and clouds, with their help he knew how to breathe life and dry. " Earth and stones Aivazovsky wrote with rude bristly bristles. It is possible that he specifically cut them to the hard ends of the bristles left the furrows on the colorful layer- says art historian Barsamov. - Paint in these places is usually laid with a dense layer. As a rule, Aivazovsky almost always licked the Earth. Fastener (darker) tone, getting into the grooves from the bristles, gave a peculiar ability to the colorful layer and a large reality of depicted form».

What is before the question "where the paints come from?", It is known that in recent years he bought the paints of the Berlin company MEWES. Everything is simple. But there is also a legend: as if Aivazovsky bought paints from Törner. Only one thing can be said about: Theoretically, it is possible, but even if so - Aivazovsky did not exactly write all 6,000 of their work with Turner paint. And that picture, which impressed by Turner dedicated a poem, Aivazovsky created even before exploring the great British marinist.

Ivan Constantinovich Aivazovski. Neapolitan bay on the lunar night.

"In your picture, I see the moon with her gold and silver, standing above the sea, in it reflected. The surface of the sea, on which the light breeze catches the trembling asb, seems to be a flight of sparkle. Forgive me, a great artist, if I was mistaken, taking a picture for reality, but your job was fascinated me, and the delight took possession of me. Your art is forever and powerful because you inspires a genius, "William Turnner's poem about the picture of the Aivazovsky" Neapolitan Bay on the Lunar Night ".

Ivan Constantinovich Aivazovski. Among the waves.

The main thing is to start, or at the Aivazovsky pace

Aivazovsky always started working from the image of the sky, and he wrote it to one acceptance - it could be 10 minutes, and 6 hours. Light in the sky he painted not a side surface of the brush, but its end, that is, "illuminated" the sky with numerous rapid touch of the brush. The sky is ready - you can relax, distracting (however, this he allowed himself only with the paintings, which took a lot of time). The sea could write in several goals.

For a long time to work on the picture in the representation of Ivan Aivazovsky - this is, for example, writing one web for 10 days. It was so much that it took the artist who at that time was 81 to create his biggest picture - "among the waves." At the same time, according to his recognition, his whole life was prepared for this picture. That is, the work demanded the maximum effort from the artist - and ten days. But in the history of art, there are no rare cases when the paintings were written in twenty or more years (for example, Fyodor Bruni wrote his "copper samp" for 14 years, began in 1827, and finished in 1841).

In Italy, Aivazovsky, at a certain period, he agreed with Alexander Ivanov, thereby writing the "phenomenon of Christ to the people" 20 years, from 1837 to 1857. They even tried to work together, but rather soon they quit. Ivanov could work for months over the etude, trying to achieve a special accuracy of a popolic leaflet, Aivazovsky managed to come around all the surroundings during this time and write a few pictures: "To write quietly, I can't nail the months. I do not leave the picture until I speak ". So different talents, different ways to create - a hard work and joyful admissance of life - they could not stay alongside long.

Ivan Aivazovsky near his picture, photo 1898.

Aivazovsky at Easel.

"The workshop atmosphere was distinguished by exceptional simplicity. Before Easel stood a simple chair with a wicker reed seat, the back of which was covered with a rather thick layer of paint, since Aivazovsky had a habit of throwing her hand with a brush for the back of the chair and, sitting in the half-turn to the picture, look at her, "from the memories of Konstantin Arcolelova , this grandson Ayvazovsky also became an artist.

Creativity as joy

Muse Aivazovsky (excuse us this high alone) - joyful, and not painful. "According to the ease, visible ease of movement of the hand, on the satisfaction of the face, it was safe to say that such a work is true pleasure"- These are the impressions of the official of the Ministry of the Imperial Court, the writer Vasily Krivenko, who watched the Aivazovsky works.

Aivazovsky, of course, saw that for many artists their gift - or a blessing, whether to curse, other paintings are written hardly by blood, depleting and overlooking their creator. For him, it was always the biggest joy and happiness for him, he did a special ease and omnipotence in his workshop. At the same time, Aivazovsky carefully listened to the delometric advice, did not disappear from the comments of the people who appreciated and respected. Although not enough to believe that the ease of his brush is a flaw.

Plenuer VS Workshop

On the importance of working with nature in those years did not say only lazy. Aivazovsky preferred from nature to make fleeting sketches, and write in the workshop. "Preferred", perhaps, not quite the word, it's not in convenience, it was his principled choice. He believed that it was impossible to portray the movement of the elements, the breath of the sea, the grindes and sparkling of zipper - namely it was interested. Aivazovsky possessed the phenomenal memory and his task "on nature" considered to absorb taking place. Feel and memorize, in order to return to the workshop, throw out these sensations on the canvas - that's why you need a nature. At the same time, Aivazovsky was a great copywriter. During training at Maxim Vorobiev, he demonstrated this his ability to fully. But copying - at least someone's paintings, at least nature - it seemed to him much less than he was able to do.

Ivan Constantinovich Aivazovski. Amalfi Bay in 1842. Sketch. 1880-E.

Ivan Constantinovich Aivazovski. The coast in Amalfi.

About the rapid work of Aivazovsky and the fact that his sketches from nature were represented by his detailed memories of the artist Ilya Ostrochov:

"With the manner of artworks, the late famous Marinist Aivazovsky artist I had to become accidentally familiarized in 1889, during one of my passage trips, in Biarritz. Approximately at the same time, which I arrived in Biarritz, came there and Aivazovsky. The migrant artist was already then, as he remembers, the years in the years for seventy ... Having learned that I was familiar with the topography of the area, [he] immediately pulled me for a walk through the ocean shore. The day was a rustling, and Aivazovsky, fascinated by the ocean surround of the waves, stopped on the beach ...

Not a showering eye from the ocean and the landscape of distant mountains, he pulled his tiny notebook with a slow motion and drew just three pencil lines - the outline of distant mountains, the ocean line at the sole of these mountains and the shore line from themselves. Then we went with him further. Passing around the versts, he stopped again and made the same drawing of several lines in another direction.

The day is cloudy today, "said Aivazovsky," and you, please tell me only where the sun goes here and goes.

I pointed. Aivazovsky put a few points in the book and hid a book in his pocket.

Now go. For me, this is enough. Tomorrow I am painting the ocean surf in Biarritz.

The next day, three spectacular pictures of the marine surround were really written: in Biarritz: in the morning, at noon and at sunset ... "

Ivan Constantinovich Aivazovski. Biarritz. 1889.

Sun Aivazovsky, or what has impressionism

The Armenian artist Martiros Saryan noticed that whatever the grand storm of Aivazovsky would have depicted, in the upper part of the canvas always through the accumulation of thunderstorms will be breaking through the beam of light - sometimes an obvious, sometimes thin and barely noticeable: "It is in it, this light, and the meaning of all the storms depicted by Aivazovsky».

Ivan Constantinovich Aivazovski. Storm on the North Sea.

Ivan Constantinovich Aivazovski. Moonlight night. 1849.

Ivan Constantinovich Aivazovski. Neapolitan bay on the lunar night. 1892.

Ivan Constantinovich Aivazovski. Ship "Empress Maria" during the storm. 1892.

Ivan Constantinovich Aivazovski. Moonlight on Capri. 1841.

If this is the sun, it will light up the black storm, if the moonwalk, will fill with his flicker everything canvas. We are not going to call Aivazovsky neither impressionist nor the forerunner of impressionism. But we quote the words of the patron of Petsenate Alexey Tomilov - he criticizes the paintings by Aivazovsky: "The figures are donated to such an extent that it is not recognized: in the foreground of a man or women (...) There are air and water." We are talking about impressionists that the main characters of their paintings are: color and light, one of the main tasks - transmission of light-air mass. In the works of Aivazovsky in the first place - light, and yes, quite right, air and water (in his case it is about the sky and the sea). All the other builds around this main thing.

He seeks not just likely to portray, but convey sensations: the sun should shine so that I wanted to climb himself, the viewer will slow down from the wind, will recover from the wave in fright. The latter, in particular, did Repin, when Aivazovsky suddenly opened the door of the room in front of him, behind which his "ninth shaft" got up.

Family and native Feodosia
Studies and envy teachers
Take off and false death
Glory and family
Old age and death

T chocan biography of the chief artist Marinist of the Russian Empire.

Family and native Feodosia

Ivan Aivazovsky was born in Feodosia, in the family of the Armenian merchant Aivazyan (Gaivazovsky), and was baptized under the name of Ovanes (the Armenian form of the name "John").

The family was poor, the artist's father had to work hard. The boy clearly grew talented: he even learned himself on the violin. His artistic abilities were obvious. Theodosia Gardener Alexander Treaschaev, who noticed how ovanes paints, became his first patron: he gave him paints and paper, and also suggested studying drawing together with his children from the city architect Koch. Moreover, when Ovanes graduated from the county school in his hometown, Treaschairs, who was transferred to Simferopol, helped the 13-year-old boy to get to Simferopol gymnasium.

The boy continued to draw from nature and copy from the engraving, and about young tagged spoke in the city. His next patron was Natalia Naryshkin - Daughter Fyodor Rostopina and the wife of the Tauride Governor. With the help of the famous portraitist of the Salvator Tonchi, she was able to arrange an ovansa to the Imperial Academy of Arts - and for a government account and despite the fact that he had not yet achieved the necessary age (he was under 14). President of the Olenin Academy accepted such a decision by reading the letter to Naryshkina and loyading the boy's drawing invested in it.

Studies and envy teachers

In St. Petersburg, the future great artist found himself in 1833 and began to study at the Academy - no longer as Ovanes Gaivazovsky, but as Ivan Aivazovsky. He was taken to the landscape class of Maxim Nikiforovich Vorobyov.

Ivan Aivazovsky. Coast coast at night. Lighthouse. 1837.

Ivan Aivazovsky. Kerch. 1839.

Ivan Aivazovsky. Kronstadt raid. 1840.

Soon in the northern capital at the invitation of Emperor Nikolai I, the French artist-marinist Philip Tanner, who Aivazovsky was attached as a student. The Frenchman piled a huge amount of black work to the young man. However, Aivazovsky still found the time to write his own paintings, and in 1836 introduced them to the academic exhibition, where Tanner was exhibited. One of the paintings was awarded a silver medal. In the reviews on this exhibition "Art Gazeta" praised a young painter, and the Frenchman reproached in manners. This caused a wild rage at Tanner, and he complained about a negligible student who broke the subordination, his main customer - the emperor Nicholas. Aivazovsky is formally really not right - the exhibition cannon should be selected by the teacher, he did not ask the tanner permission.

The emperor, not delight in the details, ordered to remove the picture of Aivazovsky. The artist fell into disfavor, and his further career was threatened. Wings, Zhukovsky and President of the Academy of Olenin were bloody for him in vain. However, they managed to attract the artist Alexander Zaurwayd on his side, who taught the children of the emperor. This patron was powerful - in an informal setting, he was able to show Nikolay's picture of Aivazovsky. He praised the young man, ordered money to pay for the work and, moreover, sent with his son Konstantin to a summer practical journey through the Baltic, where both young men became acquainted with the sailing fleet - the truth, with different goals. In addition, Aivazovsky was determined to the new teacher - the same Cheerway, who specialized in battle painting.

Having received a large gold medal of the Academy in 1837, Aivazovsky won the trip along the Crimea and Europe. By the way, the 20-year-old Aivazovsky released from the school two years earlier, since the teachers decided that the more academy would not give anything to him.

Take off and false death

Before you go to Europe, Aivazovsky noted in hostilities - Admiral Mikhail Lazarev invited him to be a witness to the victories of Russian weapons. Together with Nikolai Raevsky, he took part in landing on the Caucasian coast (where Sochi is now located) and with a notebook hand sketched the effects of bloody contractions.

In 1840-1844, a young master traveled in Europe, improving his skill. The first time he was hard financially: part of his Pension he sent his mother to Feodosia, and did not spend on himself. At first he lived and studied in Italy. In these years, he developed his creative method and learned to work on memory.

Pictures written in Venice, Florence, Naples, Amalfi and Sorren, presented at exhibitions in Rome and Naples, brought him a great success. His revenues began to grow, and he was able to afford a trip to Switzerland, Germany, France and England. During the trip, his steamer fell into a strong storm, the ship was counted by the sinking, and the artist - the dead, and in St. Petersburg newspapers even came to his necrologists.

Ivan Aivazovsky. Amalfi coast. 1841.

Ivan Aivazovsky. Brig "Mercury" after the victory over the two Turkish courts occurs with the Russian squadron. 1848.

Glory and family

Aivazovsky returned to Russia with a triumph. He received the title of academician and the imperial decree was counted among the Chief Maritime Staff as an artist with the right to wearing uniform of the Maritime Ministry.

In the further years, Aivazovsky's career was happily. In 1845, as part of the Russian geographical society, he went on a trip to the shores of Malaya Asia and the Greek Islands. In the late 1860s, the artist made a long journey through the Caucasus and Transcaucasus - visited Ossetia, Dagestan, Georgia, Armenia. By this period there is a cycle of amazing mountain landscapes. He was in Egypt at the opening of the Suez Canal.

As soon as finances allowed, Aivazovsky settled in his native Feodosia, where he bought a plot and built a house that resembles Italian Palazzo on it. The mansion was always full of guests - many visiting wished to see the famous artist and his work. Over time, Aivazovsky turned it into a private museum, open for visitors, and attached a gallery. Today is the building of the Feodosian National Picture Gallery. Aivazovsky.

In 1848, he married the governess of Yulia Grefs, who gave him four daughters. The marriage ended in divorce: the wife had a complex character, preferred to live in St. Petersburg and did not approve of the love of the spouse to the Crimean home and to travel. In the end, she threw it and began to live separately, while introducing a husband into big debts. In 1877, he sold a petition to Echmiadzinsky Synod about divorce. In 1882, 65-year-old Ayvazovsky was combined with a second marriage with a young piano Feodosi merchant Anna Burnazyan (Sarkizova). With the newlyweds, he took a new journey through the countries of the Mediterranean.

Speaking about Aivazovsky, we immediately represent sea landscapes.

It seems that you can find in the pictures of Aivazovsky? One solid sea with ships. There is an opinion that it is enough to take a look at 5-7 of his paintings and know all Aivazovsky.

I will prove that it is not. That Aivazovsky can not be called a boring landscape.

He was a romantic artist. His paintings are dramatic shipwrecks, sea battles. Plots are very busy for viewing.

These are the lunar paths, smoking volcanoes, trees to heaven. All that is striking with its beauty.

In addition, Aivazovsky wrote not only marine landscapes. Among his work you will find the image of Lviv killing a camel. Portrait of a beautiful woman. And even Pushkin.

Aivazovsky was inventive. Did not like to repeat. The task seems small. Given that for all his life he created 6,000 works!

Here are only 7 topics of his role. Which reveal all the variety of his creativity.

All reproductions in the article are clichel.

1. Storm and shipwreck

Ninth shaft. 1850

Ivan Aivazovsky. Ninth shaft. 1850, St. Petersburg. Wikipedia.org.

2. The greatness of the Russian fleet

Chesmeth battle. 1848

Ivan Aivazovsky. Chesmeth battle. 1848 Art Gallery. IK Aivazovsky, Feodosia. Wikipedia.org.

"Chesmensky fight" is one of the most famous paintings in the battle genre.

Very bright fire. As if the picture actually burns. Separate chips from the explosion. Sailors are trying in the water.

Everything is so alive and plausible. As if the artist attended the battle.

This sea battle of Russian and Turkish ships occurred in 1770. So Aivazovsky did not see his live. He was still not born by that time. But this does not mean that he did not see battles at all.

As soon as I saw. After all, he was an official artist of the Navy. He was opened with access to all ships. Including during real hostilities.

He was not afraid of bullets. Even ignored the risk to life. From the line of fire went only by order of the Commander.

Aivazovsky knew snap-ins. Even if the ship is depicted far, the details on it still carefully prescribed.

Ivan Aivazovsky. Looking at the Black Sea Fleet in 1849 1886 Central Military Museum, St. Petersburg

3. Night Sea

Neapolitan bay on the lunar night. 1842

Ivan Aivazovsky. Neapolitan bay on the lunar night. 1842. Theodosi art gallery. IK Aivazovsky, Feodosia, Crimea

Aivazovsky night landscapes were especially good. "Neapolitan bay on the lunar night" is one of the first such works.

Very bright, but a distant moon. Moonwalk. Merging Vesuvius. In the foreground, high trees. Monastery. Two monks in white.

The moon was so bright that some visitors at all looked at the picture. Hoping to find a lit candle. Which rear highlights the picture.

Landscape is written during a long tour of Europe. At first, the Academy of Arts sent him there. Pictures of Aivazovsky well sold in every country. Therefore, he was able to afford to prolong the journey. In his passport to return to Russia there were 130 visas!

The moon often appeared in the pictures of Aivazovsky. But the incredible night light he could also be portrayed without the moon. As in the picture "View from the Baidar Gate".

Ivan Aivazovsky. View from the Baidar gate, the Black Sea. 19th century. Private collection

In the picture - reflected moonlight. We see almost every pebble in the mountains. Fantastic spectacle. Neat about the finest nature of nature on our planet.

4. Religion and the sea

Chaos or the creation of the world. 1841

Ivan Aivazovsky. Chaos. 1841 Vatican Museums

Painting "Chaos" - the most famous religious work of Aivazovsky. The lunar path lays the way through dark waves. But in the sky is not just a moon, but the silhouette of God with open arms. Very spectacular.

This picture acquired Pope Grigory XVI. This case glorified Aivazovsky even more.

Before making a deal, the Vatican Commission carefully studied the picture. But I did not find anything in it that could prevent the purchase.

Nikolai Gogol personally congratulated Aivazovsky "... Vanya, you came ... in Rome and immediately raised chaos in the Vatican!"

I do not know why the painting artist called "chaos". It all harmoniously and solemnly. Aivazovsky has much more chaotic paintings.

Look at another religious picture "World Flood". Figures of perishing people and animals interspersed with waves and splashes. This is where real chaos. Although very pompous.

Suddenly, right? Try to find a sinking elephant in this chaos (picture is clichable).

Ivan Aivazovsky. Global flood. 1864 State Russian Museum, St. Petersburg. biblia-zhivopis.ru.

5. Sea and Pushkin

Pushkin in the Crimea in Gurzufsky rocks. 1880

Ivan Aivazovsky. Pushkin in the Crimea in Gurzufsky rocks. 1880 Odessa Art Museum

Sometimes Aivazovsky entered an important person in his sea landscapes. About a dozen times he did it with Pushkin.

True, on most of them, the figure of the poet is small. Facial features barely distinguishable. It is recognizable only by characteristic buoybard. How, for example, in the picture "Pushkin in the Crimea ..."

Aivazovsky was a romantic artist. For which nature is always majestic person. No matter how great this person is. Hence the "small" Pushkin, Napoleon or Peter I.

But there is one exception. In the picture "Farewell to Pushkin with the Sea" The figure of the poet is bigger.

But this picture is difficult to call an exception. Because Pushkin wrote ... Ilya Repin.

Ivazovsky asked him about it. The famous marinist admitted that the Repin is much better than the portraits. And not even offended to criticism on his part.

Once the Repin noticed that the Figures of Aivazovsky were illuminated by the Sun on both sides. And that this contradicts nature. To which Aivazovsky at all offended, answered "Ah, Ilya Efimovich, what kind of pedant you are."

Interestingly, they agreed in advance that work would be signed only by the name Aivazovsky? I think Repin did not mind. Judging by how modestly he appreciated his work: "Witty Sea wrote Ayvazovsky ... And I won the figurine there."

6. just the sea.

Among the waves. 1898

Ivan Aivazovsky. Among the waves. 1898 Theodosi art gallery. IK Aivazovsky, Feodosia, Crimea. Izi.Travel

"Among the waves" is the largest picture of Aivazovsky. 285 at 429 cm. What do you think, how much did the artist wrote? Some years? Long months?

10 days! And this is in your 80 years! True, for this work, Aivazovsky almost paid his health.

To write the upper part, he climbed onto a wooden platform. But once forgotten and began to move his back back to evaluate what was written. He flew down ... Fortunately he managed to pick up the servant. And otherwise injuries would not be avoided.

"Among the waves" a very realistic picture. There is no too bright moon here. Only a wide beam. There is no effectively tipped ships ... although there is no .. one boat was still.

When Aivazovsky showed his creation close, one of his eve spoke, a ship engineer. He was surprised how this fragile shell boat keeps on the waves.

Aivazovsky came out angry. The next day, the boat in the picture disappeared. The artist ruthlessly crushed her.

He has another similar job. Black Sea. Only dark waves. Small storm. There is a sailboat here. Do you see him? (Picture of Clichable).

Ivan Aivazovsky. Black Sea. 1881, Moscow. wikipedia.org.

7. Unexpected Aivazovsky. 3 lion and one portrait

Ivan Aivazovsky. Lions in the desert. 1874 Private Collection

Three lions that killed camels. Did not expect such marinist? It would seem not at all Iivazovsky. But look.

Is he not here in a similar element? Breakless desert instead of the sea. Lviv dead camel from the paws. He seemed to be sank the ship under the onslaught of ferocious waves. Only the color gamma is different. Not blue, but yellow.

And Ivazovsky wrote portraits. True among them there is no masterpiece. They were more memoir. The most famous among them is a portrait of the second wife.