In what style did Aivazovsky write? Ivan Konstantinovich Aivazovsky: works, biography
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After the end of the war in 1856, on his way from France, where his works were exhibited at an international exhibition, Aivazovsky visited Istanbul for the second time. He was warmly received by the local Armenian diaspora, and also, under the patronage of the court architect Sarkis Balyan, was received by Sultan Abdul-Mecid I. By that time, the Sultan’s collection already had one painting by Aivazovsky. As a sign of admiration for his work, the Sultan awarded Ivan Konstantinovich the Order of Nishan Ali, IV degree.
I.K. Aivazovsky made his third trip to Istanbul, at the invitation of the Armenian diaspora, in 1874. Many artists in Istanbul at that time were influenced by the work of Ivan Konstantinovich. This is especially evident in the marine paintings of M. Jivanyan. Brothers Gevork and Vagen Abdullahi, Melkop Telemakyu, Hovsep Samandzhiyan, Mkrtich Melkisetikyan later recalled that Aivazovsky also had a significant influence on their work. One of Aivazovsky’s paintings was presented by Sarkis Bey (Sarkis Balyan) to Sultan Abdul-Aziz. The Sultan liked the painting so much that he immediately ordered the artist 10 canvases with views of Istanbul and the Bosphorus. While working on this order, Aivazovsky constantly visited the Sultan’s palace, became friends with him, and as a result he painted not 10, but about 30 different canvases. Before Ivan Konstantinovich’s departure, an official reception was arranged for the padishah in honor of his being awarded the Order of Osmania, II degree.
A year later, Aivazovsky again goes to the Sultan and brings him two paintings as a gift: “View of St. Petersburg from the Holy Trinity Bridge” and “Winter in Moscow” (these paintings are currently in the collection of the Dolmabahce Palace Museum).
The next war with Turkey ended in 1878. The San Stefano Peace Treaty was signed in a hall whose walls were decorated with paintings by a Russian artist. This was a symbol of future good relations between Turkey and Russia.
Paintings by I.K. Aivazovsky, which were in Turkey, were repeatedly exhibited in various exhibitions. In 1880, an exhibition of the artist’s paintings was held in the building of the Russian embassy. At the end of it, Sultan Abdul-Hamid II presented I.K. Aivazovsky with a diamond medal.
In 1881, the owner of an art store, Ulman Grombach, held an exhibition of works by famous masters: Van Dyck, Rembrandt, Bruegl, Aivazovsky, Jerome. In 1882, an art exhibition by I.K. Aivazovsky and the Turkish artist Oskan Efendi took place here. The exhibitions were a huge success.
In 1888, another exhibition was held in Istanbul, organized by Levon Mazirov (nephew of I.K. Aivazovsky), at which 24 paintings by the artist were presented. Half of her proceeds went to charity. It was during these years that the first graduation of the Ottoman Academy of Arts occurred. Aivazovsky’s style of painting can be traced in the works of Academy graduates: “The sinking of the ship “Ertugrul” in Tokyo Bay” by the artist Osman Nuri Pasha, the painting “Ship” by Ali Cemal, some of the marinas of Diyarbakır Tahsin.
In 1890, Ivan Konstantinovich made his last trip to Istanbul. He visited the Armenian Patriarchate and Yildiz Palace, where he left his paintings as a gift. On this visit, he was awarded the Order of Medjidiye, I degree, by Sultan Abdul-Hamid II.
Currently, several famous paintings by Aivazovsky are in Turkey. The Military Museum in Istanbul houses the 1893 painting “Ship on the Black Sea”; the 1889 painting “Ship and Boat” is kept in one of the private collections. The residence of the President of Turkey houses the painting “A Ship Sinking in a Storm” (1899).
Ivan Konstantinovich Aivazovsky (Armenian: Հովհաննես Այվազյան, Hovhannes Ayvazyan; July 17, 1817, Feodosia - April 19, 1900, ibid.) - Russian marine painter, battle painter, collector, philanthropist. Painter of the Main Naval Staff, academician and honorary member of the Imperial Academy of Arts, honorary member of the Academies of Arts in Amsterdam, Rome, Paris, Florence and Stuttgart.
The most outstanding artist of Armenian origin of the 19th century.
Brother of the Armenian historian and Archbishop of the Armenian Apostolic Church Gabriel Aivazovsky.
Hovhannes (Ivan) Konstantinovich Aivazovsky was born into an Armenian family of merchant Gevork (Konstantin) and Hripsime Ayvazyan. On July 17 (29), 1817, the priest of the Armenian church in the city of Feodosia recorded that “Hovhannes, son of Gevork Ayvazyan” was born to Konstantin (Gevorg) Aivazovsky and his wife Hripsime. Aivazovsky's ancestors were Armenians who moved to Galicia from Western Armenia in the 18th century. The artist’s grandfather’s name was Grigor Ayvazyan, his grandmother’s name was Ashkhen. It is known that his relatives owned large land properties in the Lvov region, but no documents have survived that more accurately describe Aivazovsky’s origins. His father Konstantin (Gevork) and after moving to Feodosia wrote his surname in the Polish manner: “Gayvazovsky” (the surname is a Polonized form of the Armenian surname Ayvazyan). Aivazovsky himself in his autobiography says about his father that, due to a quarrel with his brothers in his youth, he moved from Galicia to the Danube principalities (Moldova, Wallachia), where he took up trade, and from there to Feodosia.
Some lifetime publications dedicated to Aivazovsky convey from his words a family legend that among his ancestors there were Turks. According to these publications, the artist’s late father told him that the artist’s great-grandfather (according to Bludova - on the female side) was the son of a Turkish military leader and, as a child, during the capture of Azov by Russian troops (1696), he was saved from death by a certain Armenian, who baptized and adopted (option - a soldier).
After the artist’s death (in 1901), his biographer N.N. Kuzmin told the same story in his book, but this time about the artist’s father, citing an unnamed document in Aivazovsky’s archive; however, there is no evidence of the veracity of this legend.
The artist’s father, Konstantin Grigorievich Aivazovsky (1771-1841), after moving to Feodosia, married a local Armenian woman, Hripsima (1784-1860), and from this marriage three daughters and two sons were born - Hovhannes (Ivan) and Sargis (later in monasticism - Gabriel) . Initially, Aivazovsky's trading affairs were successful, but during the plague epidemic of 1812 he went bankrupt.
Ivan Aivazovsky discovered artistic and musical abilities from childhood; in particular, he taught himself to play the violin. The Feodosia architect Yakov Khristianovich Koch, who was the first to pay attention to the boy’s artistic abilities, gave him his first lessons in craftsmanship. Yakov Khristianovich also helped young Aivazovsky in every possible way, periodically giving him pencils, paper, and paints. He also recommended paying attention to the young talent of the Feodosia mayor, Alexander Ivanovich Treasurer. After graduating from the Feodosia district school, Aivazovsky was enrolled in the Simferopol gymnasium with the help of Kaznacheev, who at that time was already an admirer of the talent of the future artist. Then Aivazovsky was admitted at public expense to the Imperial Academy of Arts of St. Petersburg.
Aivazovsky arrived in St. Petersburg on August 28, 1833. He initially studied in a landscape class with Maxim Vorobyov. In 1835, for the landscapes “View of the seaside in the vicinity of St. Petersburg” and “Study of air over the sea” he received a silver medal and was assigned as an assistant to the fashionable French marine painter Philippe Tanner. Studying with Tanner, Aivazovsky, despite the latter’s ban on working independently, continued to paint landscapes and presented five paintings at the autumn exhibition of the Academy of Arts in 1836. Aivazovsky's works received favorable reviews from critics. Tanner complained about Aivazovsky to Nicholas I, and by order of the Tsar, all of Aivazovsky’s paintings were removed from the exhibition. The artist was forgiven only six months later and assigned to the battle painting class of Professor Alexander Ivanovich Sauerweid to study naval military painting. Having studied in Sauerweid's class for only a few months, in September 1837 Aivazovsky received a Grand Gold Medal for the painting "Calm". In view of Aivazovsky's special success in his studies, an unusual decision was made for the academy - to release Aivazovsky from the academy two years ahead of schedule and send him to Crimea for these two years for independent work, and after that on a business trip abroad for six years.
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Aivazovsky Ivan Konstantinovich, part 1 (1817 - 1900)
I.N. Kramskoy argued that Aivazovsky “is a star of the first magnitude, in any case, and not only here, but in the history of art in general.”
P.M. Tretyakov, wanting to buy a painting for his gallery, wrote to the artist: “...Give me your magic water, such that it would fully convey your incomparable talent.”
In painting, Aivazovsky was, first of all, a poet. The artist said about himself: “The plot of the painting is formed in my memory, like the plot of a poem by a poet, having made a sketch on a piece of paper, I begin to work and do not leave the canvas until I have expressed myself on it with my brush.”
Over his long life, he wrote up to 6,000 works. The best of them have entered the treasury of world culture. His paintings are in many galleries around the world
Portrait of the artist Ivan Konstantinovich Aivazovsky
1841
Oil on canvas 72 x 54.2
Moscow
Ivan (Hovhannes) Konstantinovich Aivazovsky was born on July 17 (30), 1817 in Feodosia. Aivazovsky’s ancestors moved from Western (Turkish) Armenia to southern Poland in the 18th century. At the beginning of the 19th century, merchant Konstantin (Gevorg) Gaivazovsky moved from Poland to Feodosia. After the plague epidemic hit Feodosia in 1812, life was not easy for the Gaivazovsky family. Konstantin's wife Hripsime, a skilled embroiderer, helped support the family, which included two daughters and three sons.
Aivazovsky received his primary education at an Armenian parish school, and then graduated from the Simferopol gymnasium, to which the city architect Koch helped place him. In 1833, with the assistance of the Feodosian mayor A. Kaznacheev, Aivazovsky went to St. Petersburg, and based on the children’s drawings presented, he was enrolled in the Academy of Arts in the landscape class of Professor M. N. Vorobyov. Then he studied in the battle class with A. Sauerweid and for a short time with the marine painter F. Tanner, invited from France.
Already in 1835, for “Study of Air over the Sea” he was awarded a silver medal of the second dignity. In 1837, for three sea views and especially for the painting “Calm” he was awarded the First Gold Medal and his academic course was shortened by two years with the condition that during this time he painted landscapes of a number of Crimean cities. As a result of the trip to Crimea, views of Yalta, Feodosia, Sevastopol, Kerch and the paintings “Moonlit Night in Gurzuf” (1839), “Storm”, “Sea Shore” (1840) appeared.
Aivazovsky I.K. Moonlit night in Crimea. Gurzuf.
1839
Sumy Art Museum
"Seashore"
1840
Oil on canvas. 42.8 x 61.5 cm
State Tretyakov Gallery
Windmill on the seashore"
1837
Oil on canvas 67 x 96
Saint Petersburg
Seashore at night
1837
47 x 66 cm
Oil on canvas
Romanticism, realism
Russia
Feodosia. Feodosia Art Gallery named after. I.K.
Kerch
1839
In 1839, Aivazovsky took part as an artist in a naval campaign to the shores of the Caucasus. On board the ship he meets M.P. Lazarev, V.A. Kornilov, P.S. Nakhimov, V.N. Istomin, and gets the opportunity to study the designs of warships. Creates the first battle painting - “Landing at Subashi”.
“Landing N.N. Raevsky at Subashi"
1839
Oil on canvas. 66 x 97 cm
Samara Art Museum
There he also met the Decembrists M. M. Naryshkin, A. I. Odoevsky, N. N. Lorer, demoted to the rank and file, who took part in the case under Subashi. The artist’s Crimean works were successfully exhibited at an exhibition at the Academy of Arts, and as an incentive, I.K. Aivazovsky was given a business trip to Italy.
"Naval Battle of Navarino (October 2, 1827)"
1846
Oil on canvas 222 x 234
Saint Petersburg
"Naval Battle of Vyborg June 29, 1790"
1846
Oil on canvas. 222 x 335 cm
Higher Naval Engineering School named after. F.E.Dzerzhinsky
"Naval Battle of Reval (9 May 1790)"
1846
Oil on canvas 222 x 335
Naval School named after. F. E. Dzerzhinsky
Saint Petersburg
Russia
In 1840, Aivazovsky went to Italy. There he meets prominent figures of Russian literature, art, and science - Gogol, Alexander Ivanov, Botkin, Panaev. At the same time, in 1841, the artist changed his surname Gaivazovsky to Aivazovsky.
Azure Grotto. Naples
1841
74 x 100 cm
Oil on canvas
Romanticism, realism
Russia
Donetsk. Donetsk Art Museum,
View of the Venetian Lagoon
1841 76x118
The artist’s activity in Rome begins with studying and copying the works of past masters; he works a lot on full-scale sketches. In one of his letters, Aivazovsky said: “I, like a bee, collect honey from a flower garden.” Throughout his life, he returned to the landscapes of Italy; the harmonious coexistence of man and sea in this country was imprinted in his memory as an example of beauty. Aivazovsky created about fifty large paintings in Italy. The artist’s success was brought to him by the romantic seascapes “Storm”, “Chaos”, “Bay of Naples on a Moonlit Night” (1839) and others. His painting “Chaos” was acquired by the Vatican Museum. Pope Gregory XVI awarded the artist a gold medal. The artist's talent is recognized by art connoisseurs and colleagues. A. Ivanov notes Aivazovsky’s abilities in depicting the sea, engraver F. Jordan claims that Aivazovsky is the pioneer of the genre of marine painting in Rome.
"Chaos. Creation of the World"
1841
Oil on canvas 106 x 75
Museum of the Armenian Mekhitarist Congregation
Venice. Island of St. Lazarus
"Bay of Naples"
1841
Oil on canvas 73 x 108
View of Constantinople in the evening light
1846 120x189.5
"View of Constantinople by moonlight"
1846
Oil on canvas 124 x 192
State Russian Museum
Saint Petersburg
Russia
1850
Oil on canvas 121 x 190
Feodosia
"The Bay of Naples on a Moonlit Night"
1892
Oil on canvas 45 x 73
Collection of A. Shahinyan
New York
In 1843, the artist began his journey with an exhibition of paintings across Europe. “Rome, Naples, Venice, Paris, London, Amsterdam awarded me the most flattering encouragements,” recalled Aivazovsky. One of them is the title of academician awarded by the Amsterdam Academy of Fine Arts. As the only representative of Russian art, he participated in the international exhibition organized at the Louvre. Ten years later, he was the first foreign artist to become a Knight of the Legion of Honor.
"Shipwreck"
1843
Oil on canvas 116 x 189
Feodosia Art Gallery named after. I.K. Aivazovsky
Feodosia
Russia
In 1844, two years ahead of schedule, Aivazovsky returned to Russia. Upon returning to his homeland, the St. Petersburg Academy of Arts awarded him the title of academician. The Navy Department awarded him the honorary title of artist of the Main Naval Staff with the right to wear an admiralty uniform and assigned him “an extensive and complex order” - to paint all Russian military ports on the Baltic Sea. During the winter months of 1844 - 1845. Aivazovsky fulfilled the government order and created a number of other beautiful marinas.
"Russian squadron on the Sevastopol roadstead"
1846
Oil on canvas. 121 x 191 cm
State Russian Museum
In 1845, together with the expedition of F.P. Litke, Aivazovsky visited the coasts of Turkey and Asia Minor. During this voyage, he made a large number of pencil drawings, which served him for many years as material for creating paintings, which he always painted in the studio. Returning from the expedition, Aivazovsky leaves for Feodosia. “It's a feeling or a habit, it's second nature to me. “I willingly spend the winter in St. Petersburg,” the artist wrote, “but as soon as it blows in the spring, I am attacked by homesickness - I am drawn to the Crimea, to the Black Sea.”
View of Feodosia
1845
70 x 96 cm
Oil on canvas
Romanticism, realism
Russia
Yerevan. State Art Gallery of Armenia
Feodosia. Sunrise
1852 60x90
In Feodosia, the artist built a studio house on the seashore and finally settled here. In winter, he usually visited St. Petersburg and other Russian cities with his exhibitions, and sometimes traveled abroad. During his long life, Aivazovsky made a number of trips: he visited Italy, Paris and other European cities several times, worked in the Caucasus, sailed to the shores of Asia Minor, was in Egypt, and at the end of his life, in 1898, he traveled to America. During his sea voyages, he enriched his observations, and drawings accumulated in his folders. The artist spoke about his creative method: “A person who is not gifted with a memory that preserves the impressions of living nature can be an excellent copyist, a living photographic apparatus, but never a true artist. The movements of living elements are elusive to the brush: painting lightning, a gust of wind, a splash of a wave is unthinkable from life. The plot of the picture is formed in my memory, like the plot of a poem by a poet...”
Meeting of fishermen on the shores of the Gulf of Naples 1842 58x85
"Fishermen's Meeting"
Oil on canvas. 58 x 85 cm
State Tretyakov Gallery
"Gondelier on the Sea at Night"
1843
Oil on canvas 73 x 112
State Museum of Fine Arts of the Republic of Tatarstan
Kazan
Russia
"Venetian Lagoon. View of the island of San Giorgio"
1844
Wood, oil. 22.5 x 34.5 cm
State Tretyakov Gallery
Mill on the seashore 1851 50x57
"Sunrise in Feodosia"
1855
Oil on canvas 82 x 117
Yerevan
"St. George's Monastery. Cape Fiolent"
1846
Oil on canvas 122.5 x 192.5
Feodosia Art Gallery named after. I.K. Aivazovsky
Feodosia
View of Odessa on a moonlit night
1846
122 x 190 cm
Oil on canvas
Romanticism, realism
Russia
"View of Odessa from the sea"
1865
Oil on canvas 45 x 58
State Art Gallery of Armenia
Yerevan
Aivazovsky’s painting of the forties and fifties was marked by the strong influence of the romantic traditions of K. P. Bryullov, which affected the artist’s painting skills. Like Bryullov, he strives to create grandiose colorful canvases. This was very clearly reflected in the battle painting “Battle of Chesme”, written by him in 1848, dedicated to the outstanding naval battle. The battle is depicted at night. In the depths of the bay, burning ships of the Turkish fleet are visible, one of them at the moment of the explosion. Covered in fire and smoke, the wreckage of the ship flies into the air, turning into a blazing fire. In the foreground, in a dark silhouette, stands the flagship of the Russian fleet, to which, saluting, a boat with the crew of Lieutenant Ilyin, who blew up his fire-ship among the Turkish flotilla, approaches. On the water you can make out the wreckage of Turkish ships with groups of sailors calling for help, and other details.
"Battle of Chesme June 25-26, 1770"
1848
Oil on canvas 220 x 188
Feodosia Art Gallery named after. I.K. Aivazovsky
Feodosia
Review of the Black Sea Fleet in 1849
1886 131x249
"Brig Mercury attacked by two Turkish ships"
1892
Oil on canvas
“The brig Mercury, after defeating two Turkish ships, meets with the Russian squadron”
1848
Oil on canvas 123 x 190
State Russian Museum
Saint Petersburg
"Storm at Sea at Night"
1849
Oil on canvas 89 x 106
Palaces-museums and parks of Petrodvorets
Peterhof, Leningrad region
Aivazovsky's contribution to battle painting is significant. He captured episodes of the Sevastopol defense, and repeatedly turned to the heroic exploits of the Russian navy: “Every victory of our troops on land or at sea,” the artist wrote, “makes me happy, as a Russian at heart, and gives me an idea of how an artist can depict it on canvas...”
"Storm"
1850
Oil on canvas 82 x 117
State Art Gallery of Armenia
Yerevan
Aivazovsky was the last and most prominent representative of the romantic movement in Russian painting. His best romantic works of the second half of the 40s and 50s are: “Storm on the Black Sea” (1845), “St. George’s Monastery” (1846), “Entrance into the Sevastopol Bay” (1851).
Entrance to Sevastopol Bay 1852
View of Constantinople by moonlight
1846
124 x 192 cm
Oil on canvas
Romanticism, realism
Russia
Saint Petersburg. State Russian Museum
View of the Leander Tower in Constantinople
1848
Oil on canvas
58 x 45.3
Tretyakov Gallery
The largest marine painter in Russian painting of the 19th century, I.K. Aivazovsky, traveled a lot and often included images of famous architectural structures in his seascapes. The Leandrova (Maiden) Tower depicted in the painting was built in the 12th century on a small rock at the entrance to the strait of Istanbul harbor and has long served as a lighthouse and mooring place for ships. It is still used as a lighthouse today. The tower rises against the background of a golden sky, the rays of the setting sun paint the surface of the sea water in pearlescent tones, and the silhouettes of the buildings of the ancient city appear in the distance. Soft sunlight romanticizes the landscape created by the artist.
"Moonlit Night"
1849
Oil on canvas 123 x 192
State Russian Museum
Saint Petersburg
Sunset on the sea
1856
121.5x188
“Night in Crimea. View of Ayudag"
1859
Oil on canvas 63 x 83
Odessa Art Museum
Odessa
Storm
1857
100x49
The fifties are associated with the Crimean War of 1853 - 1856. As soon as word of the Battle of Sinop reached Aivazovsky, he immediately went to Sevastopol and asked the participants in the battle about all the circumstances of the case. Soon, two paintings by Aivazovsky were exhibited in Sevastopol, depicting the Battle of Sinop at night and during the day. Admiral Nakhimov, highly appreciating Aivazovsky’s work, especially the night battle, said: “The picture was extremely well done.”
“Sinop battle (day version)”
1853
Oil on canvas
“Battle of Sinop November 18, 1853 (the night after the battle)”
1853
Oil on canvas. 220 x 331 cm
Central Naval Museum
Capture of the Turkish military transport Messina by the steamer "Russia" on the Black Sea on December 13, 1877
The battle of the Vesta steamship with the Turkish battleship Fehti-Buland in the Black Sea on July 11, 1877
In Aivazovsky’s work one can find paintings on a wide variety of topics, for example, images of the nature of Ukraine. He loved the boundless Ukrainian steppes and inspiredly depicted them in his works (“Chumatsky convoy” (1868), “Ukrainian landscape” (1868)), coming close to the landscape of the masters of Russian ideological realism. Aivazovsky’s proximity to Gogol, Shevchenko, and Sternberg played a role in this attachment to Ukraine.
Chumaks on vacation
1885
Convoy in the steppe
"Ukrainian landscape with Chumaks under the moon"
1869
Oil on canvas. 60 x 82 cm
State Tretyakov Gallery
Windmills in the Ukrainian Steppe at sunset
1862 51x60
"A Flock of Sheep in a Storm"
1861
Oil on canvas 76 x 125
Collection of A. Shahinyan
New York
Neighborhoods of Yalta at night
1866
Neighborhoods of Yalta
1863
20.2x28
Storm on the North Sea
1865 269x195
Sunset on the sea
1866
Moonlit night on the Bosphorus
1894 49.7x75.8
After the storm. Moonrise
1894 41x58
“View of the sea from the mountains at sunset”
1864
Oil on canvas 122 x 170
State Russian Museum
Saint Petersburg
"The Flood"
1864
Oil on canvas 246.5 x 369
State Russian Museum
Saint Petersburg
"The Death of Pompeii"
1889
Oil on canvas 128 x 218
Rostov Regional Museum of Fine Arts
Rostov
to be continued...
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http://www.artsait.ru/art/a/aivazovsky/main.htm
Ivan Aivazovsky is a genius. His paintings are true masterpieces. And not even from the technical side. What comes to the fore here is a surprisingly truthful reflection of the subtle nature of the water element. Naturally, there is a desire to understand the nature of Aivazovsky’s genius.
Any piece of fate was a necessary and inseparable addition to his talent. In this article, we will try to open the door even a centimeter into the wonderful world of one of the most famous marine painters in history - Ivan Konstantinovich Aivazovsky.
It goes without saying that world-class painting requires great talent. But marine painters have always stood apart. It is difficult to convey the aesthetics of “big water”. The difficulty here, first of all, is that it is on canvases depicting the sea that the falseness is most clearly felt.
Famous paintings of Ivan Konstantinovich Aivazovsky
The most interesting thing for you!
Family and hometown
Ivan's father was a sociable, enterprising and capable man. For a long time he lived in Galicia, later moving to Wallachia (modern Moldavia). Perhaps he traveled with a gypsy camp for some time, because Konstantin spoke Gypsy. Besides him, by the way, this most curious man spoke Polish, Russian, Ukrainian, Hungarian, and Turkish.
In the end, fate brought him to Feodosia, which recently received the status of a free port. The city, which until recently had a population of 350, has turned into a bustling shopping center with a population of several thousand people.
From all over the south of the Russian Empire, goods were delivered to the port of Feodosia, and goods were sent back from sunny Greece and bright Italy. Konstantin Grigorievich, not rich, but enterprising, successfully engaged in trade and married an Armenian woman named Hripsime. A year later, their son Gabriel was born. Konstantin and Hripsime were happy and even began to think about changing their home - the small house they built upon their arrival in the city became a bit cramped.
But soon the Patriotic War of 1812 began, and after it a plague epidemic came to the city. At the same time, another son was born into the family - Gregory. Konstantin's affairs went downhill sharply, he went bankrupt. The need was so great that almost all valuables from the house had to be sold. The father of the family became involved in litigation. His beloved wife helped him a lot - Repsime was a skilled needlewoman and often embroidered all night long in order to later sell her products and support the family.
On July 17, 1817, Hovhannes was born, who became known to the whole world under the name of Ivan Aivazovsky (he changed his last name only in 1841, but we will call Ivan Konstantinovich that now, after all, he became famous as Aivazovsky). It cannot be said that his childhood was like a fairy tale. The family was poor and at the age of 10 Hovhannes went to work in a coffee shop. By that time, the older brother had left to study in Venice, and the middle brother was just receiving his education at the district school.
Despite the work, the soul of the future artist truly blossomed in the beautiful southern city. No wonder! Theodosia, despite all the efforts of fate, did not want to lose her brightness. Armenians, Greeks, Turks, Tatars, Russians, Ukrainians - a mishmash of traditions, customs, languages created a colorful background of Feodosian life. But in the foreground was, of course, the sea. It is this that brings that very flavor that no one can recreate artificially.
The incredible luck of Vanya Aivazovsky
Ivan was a very capable child - he learned to play the violin himself and began to draw. His first easel was the wall of his father’s house; instead of a canvas, he was content with plaster, and a piece of coal replaced the brush. The amazing boy was immediately noticed by a couple of prominent benefactors. First, the Feodosia architect Yakov Khristianovich Koch drew attention to the drawings of unusual craftsmanship.
He also gave Vanya his first lessons in fine art. Later, after hearing Aivazovsky play the violin, the mayor Alexander Ivanovich Kaznacheev became interested in him. A funny story happened - when Koch decided to introduce the little artist to Kaznacheev, he turned out to already know him. Thanks to the patronage of Alexander Ivanovich, in 1830 Vanya entered the Simferopol Lyceum.
The next three years became an important milestone in Aivazovsky's life. While studying at the Lyceum, he differed from others in his completely unimaginable talent for drawing. It was hard for the boy - longing for his family and, of course, the sea affected him. But he kept his old acquaintances and made new ones, no less useful. First, Kaznacheev was transferred to Simferopol, and later Ivan began to enter the house of Natalya Fedorovna Naryshkina. The boy was allowed to use books and engravings; he constantly worked, looking for new subjects and techniques. Every day the skill of the genius grew.
Noble patrons of Aivazovsky’s talent decided to petition for his admission to the St. Petersburg Academy of Arts and sent the best drawings to the capital. After viewing them, the President of the Academy, Alexei Nikolaevich Olenin, wrote to the Minister of the Court, Prince Volkonsky:
“The young Gaivazovsky, judging by his drawing, has an extreme affinity for composition, but how, being in the Crimea, he could not have been prepared there for drawing and painting, so as not only to be sent to foreign lands and study there without guidance, but even so as to become a full-time academician of the Imperial Academy of Arts, for on the basis of § 2 of the addition to its regulations, those entering must be at least 14 years old.
It is good to draw, at least from originals, a human figure, to draw orders of architecture and to have preliminary knowledge in the sciences, then, so as not to deprive this young man of the opportunity and ways to develop and improve his natural abilities for art, I considered the only means for this to be the highest permission to appoint him to the academy as a pensioner of His Imperial Majesty with production for his maintenance and other 600 rubles. from His Majesty’s Cabinet so that he could be brought here at public expense.”
The permission that Olenin asked for was received when Volkonsky showed the drawings personally to Emperor Nicholas. July 22 St. Petersburg Academy of Arts accepted a new student for training. Childhood is over. But Aivazovsky went to St. Petersburg without fear - he truly felt that brilliant achievements of artistic genius lay ahead.
Big city - big opportunities
The St. Petersburg period of Aivazovsky’s life is interesting for several reasons. Of course, training at the Academy played an important role. Ivan’s talent was complemented by much-needed academic lessons. But in this article I would like to first of all talk about the young artist’s social circle. Truly, Aivazovsky was always lucky to have acquaintances.
Aivazovsky arrived in St. Petersburg in August. And although he had heard a lot about the terrible St. Petersburg dampness and cold, in the summer he felt none of this. Ivan walked around the city all day. Apparently, the artist’s soul filled the longing for the familiar south with beautiful views of the city on the Neva. Aivazovsky was especially struck by the construction of St. Isaac's Cathedral and the monument to Peter the Great. The massive bronze figure of the first emperor of Russia aroused genuine admiration for the artist. Of course! It was Peter who owed the existence of this wonderful city.
Amazing talent and acquaintance with Kaznacheev made Hovhannes a favorite of the public. Moreover, this audience was very influential and more than once helped the young talent. Vorobyov, Aivazovsky’s first teacher at the Academy, immediately realized what a talent he had. Undoubtedly, these creative people were also brought together by music - Maxim Nikiforovich, like his student, also played the violin.
But over time, it became obvious that Aivazovsky had outgrown Vorobyov. Then he was sent as a student to the French marine painter Philippe Tanner. But Ivan did not get along with the foreigner and, due to illness (either fictitious or real), left him. Instead, he began working on a series of paintings for an exhibition. And it must be admitted that he created impressive canvases. It was then, in 1835, that he received a silver medal for his works “Study of air over the sea” and “View of the seaside in the vicinity of St. Petersburg.”
But alas, the capital was not only a cultural center, but also the epicenter of intrigue. Tanner complained to his superiors about the rebellious Aivazovsky, saying, why did his student work for himself during his illness? Nicholas I, a well-known disciplinarian, personally ordered the removal of the young artist’s paintings from the exhibition. It was a very painful blow.
Aivazovsky was not allowed to mope - the entire public vehemently opposed his groundless disgrace. Olenin, Zhukovsky, and the court artist Sauerweid petitioned for Ivan's forgiveness. Krylov himself personally came to console Hovhannes: “What. brother, is the Frenchman offending you? Eh, what kind of guy is he... Well, God bless him! Don’t worry!..” In the end, justice triumphed - the emperor forgave the young artist and ordered the award to be issued.
Largely thanks to Sauerweid, Ivan was able to undergo summer internship on ships of the Baltic Fleet. Created just a hundred years ago, the fleet was already a formidable force of the Russian state. And, of course, for a beginning marine painter it was impossible to find a more necessary, useful and enjoyable practice.
Writing ships without the slightest idea about their structure is a crime! Ivan did not hesitate to communicate with sailors and carry out small tasks for officers. And in the evenings he played his favorite violin for the team - in the middle of the cold Baltic, the enchanting sound of the Black Sea south could be heard.
Charming artist
All this time, Aivazovsky did not stop corresponding with his old benefactor Kaznacheev. It was thanks to him that Ivan began to enter the houses of Alexei Romanovich Tomilov and Alexander Arkadyevich Suvorov-Rymniksky, the grandson of the famous commander. Ivan even spent his summer holidays at the Tomilovs’ dacha. It was then that Aivazovsky became acquainted with Russian nature, unusual for a southerner. But the artist’s heart perceives beauty in any form. Every day Aivazovsky spent in St. Petersburg or the surrounding area added something new to the worldview of the future maestro of painting.
The top of the intelligentsia of that time gathered in the Tomilovs' house - Mikhail Glinka, Orest Kiprensky, Nestor Kukolnik, Vasily Zhukovsky. Evenings in such company were extremely interesting for the artist. Aivazovsky's senior comrades accepted him into their circle without any problems. The democratic tendencies of the intelligentsia and the extraordinary talent of the young man allowed him to take a worthy place in the company of Tomilov’s friends. In the evenings, Aivazovsky often played the violin in a special, oriental manner - resting the instrument on his knee or standing it upright. Glinka even included a short excerpt played by Aivazovsky in his opera Ruslan and Lyudmila.
It is known that Aivazovsky was familiar with Pushkin and loved his poetry very much. The death of Alexander Sergeevich was perceived very painfully by Hovhannes; later he specially came to Gurzuf, precisely to the place where the great poet spent time. No less important for Ivan was the meeting with Karl Bryullov. Having recently completed work on the canvas “The Last Day of Pompeii,” he came to St. Petersburg and each of the Academy students passionately wished that Bryullov would be his mentor.
Aivazovsky was not a student of Bryullov, but often communicated with him personally, and Karl Pavlovich noted Hovhannes’ talent. Nestor Kukolnik dedicated a lengthy article to Aivazovsky precisely at Bryullov’s insistence. The experienced painter saw that subsequent studies at the Academy would be more of a regression for Ivan - there were no teachers left who could give something new to the young artist.
He proposed to the Academy council to shorten Aivazovsky’s training period and send him abroad. Moreover, the new marina “Shtil” won a gold medal at the exhibition. And this award just gave the right to travel abroad.
But instead of Venice and Dresden, Hovhannes was sent to Crimea for two years. Aivazovsky was hardly happy - he would be home again!
Rest…
In the spring of 1838, Aivazovsky arrived in Feodosia. Finally he saw his family, his beloved city and, of course, the southern sea. Of course, the Baltic has its own charm. But for Aivazovsky, it is the Black Sea that will always be the source of the brightest inspiration. Even after such a long separation from his family, the artist puts work first.
He finds time to communicate with his mother, father, sisters and brother - everyone is sincerely proud of Hovhannes, the most promising artist in St. Petersburg! At the same time, Aivazovsky is working hard. He paints canvases for hours, and then, tired, he goes to the sea. Here he can feel that mood, that elusive excitement that the Black Sea aroused in him from an early age.
Soon the retired Treasurer came to visit the Aivazovskys. He, along with his parents, rejoiced at Hovhannes’ success and first of all asked to see his new drawings. Having seen the beautiful works, he immediately took the artist with him on a trip along the southern coast of Crimea.
Of course, after such a long separation, it was unpleasant to leave the family again, but the desire to feel the native Crimea outweighed. Yalta, Gurzuf, Sevastopol - everywhere Aivazovsky found material for new canvases. Treasurers, who had left for Simferopol, urgently invited the artist to visit, but he again and again upset the benefactor with his refusal - work came first.
...before the fight!
At this time, Aivazovsky met another wonderful person. Nikolai Nikolaevich Raevsky is a brave man, an outstanding commander, the son of Nikolai Nikolaevich Raevsky, the hero of the defense of Raevsky’s battery in the Battle of Borodino. The lieutenant general took part in the Napoleonic wars and the Caucasian campaigns.
These two people, unlike at first glance, were brought together by their love for Pushkin. Aivazovsky, who admired the poetic genius of Alexander Sergeevich from an early age, found a kindred spirit in Raevsky. Long, exciting conversations about the poet ended completely unexpectedly - Nikolai Nikolaevich invited Aivazovsky to accompany him on a sea voyage to the shores of the Caucasus and watch the Russian landing. It was an invaluable opportunity to see something new, and even on the much-loved Black Sea. Hovhannes immediately agreed.
Of course, this trip was important in terms of creativity. But even here there were invaluable meetings, it would be a crime to keep silent about them. On the ship "Colchis" Aivazovsky met Lev Sergeevich Pushkin, Alexander's brother. Later, when the ship joined the main squadron, Ivan met people who were an inexhaustible source of inspiration for the marine painter.
Having moved from Colchis to the battleship Silistria, Aivazovsky was introduced to Mikhail Petrovich Lazarev. A hero of Russia, a participant in the famous Battle of Navarino and the discoverer of Antarctica, an innovator and a competent commander, he became keenly interested in Aivazovsky and personally invited him to move from Colchis to Silistria to study the intricacies of naval affairs, which would undoubtedly be useful to him in his work. It would seem much further: Lev Pushkin, Nikolai Raevsky, Mikhail Lazarev - some will not meet even one person of this caliber in their entire lives. But Aivazovsky has a completely different fate.
Later he was introduced to Pavel Stepanovich Nakhimov, captain of the Silistria, future commander of the Russian fleet in the Battle of Sinop and organizer of the heroic defense of Sevastopol. In this brilliant company, the young Vladimir Alekseevich Kornilov, the future vice-admiral and captain of the famous sailing ship “The Twelve Apostles,” did not get lost at all. Aivazovsky worked with a very special passion these days: the situation was unique. Warm surroundings, the beloved Black Sea and elegant ships that you could explore as much as your heart desires.
But now the time has come to disembark. Aivazovsky personally wanted to take part in it. At the last moment they discovered that the artist was completely unarmed (of course!) and he was given a pair of pistols. So Ivan went down into the landing boat - with a briefcase for papers and paints and pistols in his belt. Although his boat was among the first to moor to the shore, Aivazovsky did not personally observe the battle. A few minutes after the landing, the artist’s friend, midshipman Fredericks, was wounded. Not finding a doctor, Ivan himself provides assistance to the wounded man, and then takes him to the ship on a boat. But upon returning to shore, Aivazovsky sees that the battle is almost over. He gets to work without hesitating for a minute. However, let’s give the floor to the artist himself, who described the landing in the magazine “Kiev Antiquity” almost forty years later - in 1878:
“...The shore, illuminated by the setting sun, a forest, distant mountains, a fleet at anchor, boats scurrying on the sea, maintaining communication with the shore... Having passed the forest, I entered a clearing; here is a picture of a rest after a recent battle alarm: groups of soldiers, officers sitting on drums, corpses of the dead and Circassian carts arriving to clean up theirs. Having unfolded my briefcase, I armed myself with a pencil and began to sketch one group. At this time, some Circassian unceremoniously took the briefcase from my hands and carried it to show my drawing to his own. Whether the mountaineers liked him, I don’t know; I only remember that the Circassian returned the drawing to me, stained with blood... This “local flavor” remained on it, and for a long time I cherished this tangible memory of the expedition...”
What words! The artist saw everything - the shore, the setting sun, the forest, the mountains and, of course, the ships. A little later, he wrote one of his best works, “Landing at Subashi.” But this genius was in mortal danger during the landing! But Fate preserved him for further achievements. During his vacation, Aivazovsky also had a trip to the Caucasus and hard work on turning sketches into real canvases. But he coped with flying colors. As always, however.
Hello Europe!
Returning to St. Petersburg, Aivazovsky received the title of artist of the 14th class. His studies at the Academy ended, Hovhannes had outgrown all his teachers and he was given the opportunity to travel around Europe, naturally, with government support. He left with a light heart: his earnings allowed him to help his parents, and he himself could live quite comfortably. And although Aivazovsky first had to visit Berlin, Vienna, Trieste, Dresden, most of all he was drawn to Italy. There was the much-loved southern sea and the elusive magic of the Apennines. In July 1840, Ivan Aivazovsky and his friend and classmate Vasily Sternberg went to Rome.
This trip to Italy was very useful for Aivazovsky. He received a unique opportunity to study the works of great Italian masters. He spent hours standing by the canvases, sketching them, trying to understand the secret mechanism that made the creations of Raphael and Botticelli masterpieces. I tried to visit many interesting places, for example, Columbus’s house in Genoa. And what landscapes he found! The Apennines reminded Ivan of his native Crimea, but with its own, different charm.
And there was no feeling of kinship with the land. But there are so many opportunities for creativity! And Aivazovsky always took advantage of the opportunities provided to him. A remarkable fact speaks eloquently about the artist’s level of skill: the Pope himself wanted to buy the painting “Chaos”. Somehow, the pontiff is used to receiving only the best! The sharp-witted artist refused payment, simply giving “Chaos” to Gregory XVI. Dad did not leave him without a reward, presenting him with a gold medal. But the main thing is the effect of the gift in the world of painting - the name of Aivazovsky thundered throughout Europe. For the first, but far from the last time.
Besides work, however, Ivan had another reason to visit Italy, or rather Venice. It was there on the island of St. Lazarus lived and worked with his brother Gabriel. While in the rank of archimandrite, he was engaged in research and teaching. The meeting between the brothers was warm; Gabriel asked a lot about Feodosia and his parents. But they soon broke up. The next time they meet is in Paris in a few years. In Rome, Aivazovsky met Nikolai Vasilyevich Gogol and Alexander Andreevich Ivanov. Even here, on foreign soil, Ivan managed to find the best representatives of the Russian land!
Exhibitions of Aivazovsky’s paintings also took place in Italy. The public was invariably delighted and keenly interested in this young Russian, who managed to convey all the warmth of the south. Increasingly, they began to recognize Aivazovsky on the streets, come to his workshop and order works. “The Bay of Naples”, “View of Vesuvius on a Moonlit Night”, “View of the Venetian Lagoon” - these masterpieces were the quintessence of the Italian spirit passed through Aivazovsky’s soul. In April 1842, he sent some of the paintings to Petersburg and notified Olenin of his intention to visit France and the Netherlands. Ivan no longer asks for permission to travel - he has enough money, he has loudly declared himself and will be warmly received in any country. He asks only for one thing - that his salary be sent to his mother.
Aivazovsky's paintings were presented at an exhibition in the Louvre and impressed the French so much that he was awarded a gold medal from the French Academy. But he did not limit himself to France alone: England, Spain, Portugal, Malta - wherever one could see the sea so dear to his heart, the artist visited. The exhibitions were a success and Aivazovsky was unanimously showered with compliments from critics and inexperienced visitors. There was no longer a shortage of money, but Aivazovsky lived modestly, devoting himself to work to the fullest.
Artist of the Main Naval Staff
Not wanting to prolong his voyage, already in 1844 he returned to St. Petersburg. On July 1, he was awarded the Order of St. Anne, 3rd degree, and in September of the same year, Aivazovsky received the title of academician of the St. Petersburg Academy of Arts. In addition, he is included in the Main Naval Staff with the right to wear a uniform! We know with what reverence sailors treat the honor of their uniform. And here it is worn by a civilian, and an artist at that!
Nevertheless, this appointment was welcomed at Headquarters, and Ivan Konstantinovich (you can already call him that - a world-famous artist, after all!) enjoyed all the possible privileges of this position. He demanded drawings of ships, ship guns were fired for him (so that he could get a better look at the trajectory of the cannonball), Aivazovsky even took part in maneuvers in the Gulf of Finland! In a word, he didn’t just serve the number, but worked diligently and with desire. Naturally, the canvases were also on the level. Soon Aivazovsky's paintings began to decorate the emperor's residences, houses of the nobility, state galleries and private collections.
The next year was very busy. In April 1845, Ivan Konstantinovich was included in the Russian delegation that was heading to Constantinople. Having visited Turkey, Aivazovsky was struck by the beauty of Istanbul and the beautiful coast of Anatolia. After some time, he returned to Feodosia, where he bought a plot of land and began building his house-workshop, which he personally designed. Many do not understand the artist - the sovereign’s favorite, a popular artist, why not live in the capital? Or abroad? Feodosia is a wild wilderness! But Aivazovsky doesn’t think so. He arranges an exhibition of his paintings in the newly built house, on which he works day and night. Many guests noted that despite the seemingly home conditions, Ivan Konstantinovich became haggard and pale. But, in spite of everything, Aivazovsky finishes work and goes to St. Petersburg - he is still a service man, you cannot treat this irresponsibly!
Love and War
In 1846, Aivazovsky arrived in the capital and stayed there for several years. The reason for this was permanent exhibitions. At intervals of six months, they took place either in St. Petersburg or in Moscow in completely different places, sometimes cash, sometimes free. And at every exhibition there was always the presence of Aivazovsky. He received thanks, came to visit, accepted gifts and orders. Free time was rare in this bustle. One of the most famous paintings was created - “The Ninth Wave”.
But it is worth noting that Ivan still went to Feodosia. The reason for this was extremely important - in 1848 Aivazovsky got married. Suddenly? Until the age of 31, the artist did not have a lover - all his emotions and experiences remained on the canvases. And here is such an unexpected step. However, southern blood is hot, and love is an unpredictable thing. But even more amazing is Aivazovsky’s chosen one - a simple servant Julia Grace, an Englishwoman, the daughter of a physician who served Emperor Alexander.
Of course, this marriage did not go unnoticed in the social circles of St. Petersburg - many were surprised at the artist’s choice, many openly criticized him. Tired, apparently, of close attention to his personal life, Aivazovsky and his wife left home for Crimea in 1852. An additional reason (or maybe the main one?) was that first daughter - Elena, was already three years old, and second daughter - Maria, recently celebrated one year. In any case, Feodosia was waiting for Aivazovsky.
At home, the artist tries to organize an art school, but is refused funding by the emperor. Instead, he and his wife begin archaeological excavations. In 1852, a family was born third daughter - Alexandra. Ivan Konstantinovich, of course, does not give up work on paintings. But in 1854, troops landed in Crimea, Aivazovsky hastily took his family to Kharkov, and he himself returned to besieged Sevastopol to his old acquaintance Kornilov.
Kornilov orders the artist to leave the city, saving him from possible death. Aivazovsky obeys. Soon the war ends. For everyone, but not for Aivazovsky - he will continue to paint brilliant paintings on the theme of the Crimean War.
The following years pass in turmoil. Aivazovsky regularly travels to the capital, takes care of the affairs of Feodosia, goes to Paris to meet his brother, and opens an art school. Born in 1859 fourth daughter - Zhanna. But Aivazovsky is constantly busy. Despite traveling, creativity takes up the most time. During this period, paintings on biblical themes and battle paintings were created, which regularly appear at exhibitions - in Feodosia, Odessa, Taganrog, Moscow, St. Petersburg. In 1865, Aivazovsky received the Order of St. Vladimir, 3rd degree.
Admiral Aivazovsky
But Julia is not happy. Why does she need orders? Ivan ignores her requests, she does not receive due attention and in 1866 refuses to return to Feodosia. Aivazovsky took the breakup of his family hard, and in order to distract himself, he devoted himself entirely to work. He paints, travels around the Caucasus, Armenia, and devotes all his free time to students at his art academy.
In 1869, he went to the opening, the same year he organized another exhibition in St. Petersburg, and the next year he received the title of full state councilor, which corresponded to the rank of admiral. A unique case in Russian history! In 1872 he had an exhibition in Florence, for which he had been preparing for several years. But the effect exceeded all expectations - he was elected an honorary member of the Academy of Fine Arts, and his self-portrait adorned the gallery of the Pitti Palace - Ivan Konstantinovich stood on a par with the best artists of Italy and the world.
A year later, having organized another exhibition in the capital, Aivazovsky left for Istanbul at the personal invitation of the Sultan. This year turned out to be fruitful - 25 canvases were painted for the Sultan! The sincerely admired Turkish ruler bestows the Order of Osmaniye, second degree, on Peter Konstantinovich. In 1875, Aivazovsky left Turkey and headed to St. Petersburg. But on the way he stops in Odessa to see his wife and children. Realizing that one cannot expect warmth from Julia, he invites her and her daughter Zhanna to go to Italy next year. The wife accepts the proposal.
During the trip, the couple visit Florence, Nice, and Paris. Yulia is pleased to appear with her husband at social functions, but Aivazovsky considers this to be of secondary importance and devotes all his free time to work. Realizing that his former marital happiness could not be returned, Aivazovsky asked the church to end the marriage and in 1877 his request was granted.
Returning to Russia, he travels to Feodosia with his daughter Alexandra, son-in-law Mikhail and grandson Nikolai. But Aivazovsky’s children did not have time to settle into their new place - another Russian-Turkish war began. Next year, the artist sends his daughter with her husband and son to Feodosia, and he himself goes abroad. For two whole years.
He will visit Germany and France, visit Genoa again, and will prepare paintings for exhibitions in Paris and London. Constantly seeks out promising artists from Russia, sending petitions to the Academy about their content. He received the news of his brother's death in 1879 painfully. To avoid moping, I went to work out of habit.
Love in Feodosia and love for Feodosia
Returning to his homeland in 1880, Aivazovsky immediately went to Feodosia and began construction of a special pavilion for an art gallery. He spends a lot of time with his grandson Misha, taking long walks with him, carefully instilling artistic taste. Aivazovsky devotes several hours every day to students of the art academy. He works with inspiration, with unusual enthusiasm for his age. But he also demands a lot from students, is strict with them, and few can stand studying with Ivan Konstantinovich.
In 1882, the incomprehensible happened - the 65-year-old artist married a second time! His chosen one was a 25-year-old Anna Nikitichna Burnazyan. Since Anna was recently widowed (in fact, it was at her husband’s funeral that Aivazovsky drew attention to her), the artist had to wait a little before proposing marriage. January 30, 1882 Simferopol St. Assumption Church “actual state councilor I.K. Aivazovsky, divorced by decree of the Etchmiadzin Synoid of May 30, 1877 N 1361 from his first wife from a legal marriage, entered into a second legal marriage with the wife of a Feodosian merchant, widow Anna Mgrtchyan Sarsizova, both Armenian-Gregorian confessions."
Soon the couple travel to Greece, where Aivazovsky works again, including painting a portrait of his wife. In 1883, he constantly wrote letters to ministers, defending Feodosia and proving in every possible way that its location was perfectly suited for the construction of a port, and a little later he petitioned for a replacement for the city priest. In 1887, an exhibition of paintings by the Russian artist was held in Vienna, to which, however, he did not go, remaining in Feodosia. Instead, he devotes all his free time to creativity, his wife, his students, and is building an art gallery in Yalta. The 50th anniversary of Aivazovsky's artistic activity was celebrated with pomp. The entire high society of St. Petersburg came to greet the professor of painting, who became one of the symbols of Russian art.
In 1888, Aivazovsky received an invitation to visit Turkey, but did not go for political reasons. Nevertheless, he sent several dozen of his paintings to Istanbul, for which the Sultan awarded him in absentia the Order of Medzhidiye, first degree. A year later, the artist and his wife went to a personal exhibition in Paris, where he was awarded the Order of the Foreign Legion. On the way back, the couple still stops at Istanbul, so beloved by Ivan Konstantinovich.
In 1892, Aivazovsky turns 75. And he goes to America! The artist plans to refresh his impressions of the ocean, see Niagara, visit New York, Chicago, Washington and present his paintings at the World Exhibition. And all this in my eighties! Well, sit in the rank of state councilor in your native Feodosia, surrounded by grandchildren and a young wife! No, Ivan Konstantinovich remembers very well why he rose so high. Hard work and fantastic dedication to work - without this, Aivazovsky will cease to be himself. However, he did not stay in America for long and returned home the same year. Came back to work. That was how Ivan Konstantinovich was.
