The sea is a fiery poet. The main stages of the life and work of I. Aivazovsky

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Together with I. Repin in 1877, Aivazovsky created the famous painting “Pushkin's Farewell to the Sea. Exactly ten years later, in the year of the fiftieth anniversary of the death of A. S. Pushkin, in 1887 Aivazovsky painted the painting "Pushkin on the Black Sea." And the third appeal to the theme "Pushkin and the Sea" takes place at Aivazovsky, too, exactly ten years later (three years before his death) in 1897. He calls the picture the same - "Pushkin on the Black Sea." She also has a second name - "Farewell, free element ...". Pushkin's quatrain is written directly on the canvas. Isn't it symbolic to write "Farewell" to the free element three years before death. The artist, as it were, said goodbye to the sea himself! In the guise of a poet in the picture, Aivazovsky undoubtedly draws his youthful features. Together with I. Repin in 1877, Aivazovsky created the famous painting “Pushkin's Farewell to the Sea. Exactly ten years later, in the year of the fiftieth anniversary of the death of A. S. Pushkin, in 1887 Aivazovsky painted the painting "Pushkin on the Black Sea." And the third appeal to the theme "Pushkin and the Sea" takes place at Aivazovsky, too, exactly ten years later (three years before his death) in 1897. He calls the picture the same - "Pushkin on the Black Sea." She also has a second name - "Farewell, free element ...". Pushkin's quatrain is written directly on the canvas. Isn't it symbolic to write "Farewell" to the free element three years before death. The artist, as it were, said goodbye to the sea himself! In the guise of a poet in the picture, Aivazovsky undoubtedly draws his youthful features.

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

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The material contains information about the world famous Russian marine painter, battle painter, collector, philanthropist Ivan Konstantinovich Aivazovsky, about his brilliant talent. It is told about the life and creative path of the artist. The characteristics and analysis of the most famous works of Aivazovsky are given, the features of Ivan Konstantinovich's work are revealed. The history of creation, figurative structure and composition of the painting "The Ninth Wave" are considered. This material can be used in the lessons of fine arts when studying the topic "Landscape painting", in the lessons of the Moscow Art Theater and history when studying the culture of the 19th century. Material about the life and work of I.K. Aivazovsky

Aivazovsky-sea fiery singer.docx

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Introduction collector, philanthropist2, battle painter1, Ivan Konstantinovich Aivazovsky - the world-famous Russian most famous marine painter, an outstanding Armenian artist of the 19th century The sea has always had a great attraction for artists. There is not a single Russian painter who, having been by the sea, would not try to depict it. For some, these were episodic sketches, not connected with the main course of development of their art, while others returned to this topic from time to time, devoting a significant place to the image of the sea in their paintings. Among the artists of the Russian school, only Ivan Konstantinovich Aivazovsky devoted his entire talent to marine painting. By nature, he was endowed with a brilliant talent, which developed rapidly due to fortunate circumstances and thanks to the environment in which his childhood and youth passed. Devoting his brilliant talent to marine painting, he created unforgettable poetic images of the sea in its most diverse manifestations. The deeply meaningful and humanistic art of Aivazovsky put him on a par with the best masters of realistic art of the 19th century. Aivazovsky survived two generations of artists, and his art covers a huge period of time - sixty years of creativity. Starting with works saturated with vivid romantic images, Aivazovsky came to a penetrating, deeply realistic and heroic image of the sea element, creating the painting "Among the Waves". Until the last day, he happily retained not only an unblunted vigilance of the eye, but also a deep faith in his art. He went his way without the slightest hesitation and doubt, retaining the clarity of feelings and thinking until old age. Aivazovsky's work was deeply patriotic. His merits in art were noted all over the world. He was elected a member of five Academies of Arts, and his admiralty uniform was studded with honorary orders from many countries. The art of I. K. Aivazovsky leaves no one indifferent. Many of his contemporaries highly appreciated his work, and the artist I.N. Kramskoy wrote: "... Aivazovsky, no matter what anyone says, is a star of the first magnitude, in any case, and not only with us, but in the history of art in general ..." And in our time, interest in the artist's works does not subside . His canvases are constantly sold at various auctions (for example, in 2008 at auction 1Batalist, a battle painter - a painter who creates works of the battle genre, that is, scenes of land and sea battles, military campaigns and military life. 2Patron - a rich patron of sciences and arts. 3

"Sotheby's" two paintings by Aivazovsky, "Distribution of food" and "Ship of aid", were sold for $ 2.4 million) Purpose of the work: I.K. I.K. Aivazovsky; 2. to characterize the most significant paintings of the artist; 3. Analyzing the canvases of Aivazovsky, identify the features of creativity 4. Consider the history of creation, figurative structure and composition of the artist of the painting “The Ninth Wave” Working on the essay, I used the following sources: 1. Dolgopolov I. Masters and masterpieces 2. Popular Art Encyclopedia 3. Ionina N.I. "One Hundred Great Paintings" 4. Magazine "Masterpieces of Russian Painting" No. 2 (dedicated to the work of Aivazovsky) 5. Internet resources 4

1. Life and era Ivan Aivazovsky was born on July 17 (30), 1817 in Feodosia in an Armenian family. His ancestors, back in the 18th century, fleeing the genocide unleashed by the Turks, fled from Western Armenia to Poland. The artist's father, Konstantin (Gevorg) Gaivazovsky, at the beginning of the 19th century. moved from Galicia to the Crimea. At one time he traded quite successfully, but the plague epidemic that broke out in 1812 in Feodosia ruined him - after that the family fell into poverty, and K. Gaivazovsky had to raise funds for a living in the Feodosiya bazaar, acting as market headman. In the book of births and baptisms of the Feodosian Armenian Church, the future artist was recorded as "Hovhannes, son of Georg Ayvazyan." He began to sign his works with his usual surname only in 1840. The boy grew up frisky and intelligent - he was fond of drawing from an early age. Onik's life, which was no different from the life of city boys, changed when his drawings were seen by the Feodosia mayor A.I. Kaznacheev, a man of great culture, a good friend of A.S. Pushkin during the poet's southern exile. It was thanks to the efforts of Kaznacheev, who soon became the governor of the Tauride province, that Aivazovsky first ended up in the Simferopol gymnasium (in 1830), and then in the St. Petersburg Academy of Arts (in 1833). landscape painter M. Vorobyov. Soon Aivazovsky attracted the attention of K. Bryullov. It is in the work of Bryullov that one should look for the origins of Aivazovsky's romanticism. Soon he becomes close to Bryullov, Glinka and Kukolnik. Sociable, witty, handsome Aivazovsky quickly converged with people - among his acquaintances we will find A.S. Pushkin, I. Krylov, and other luminaries of the then national culture. His academic success was undeniable. He began to paint the sea already at the Academy - his first awards were related to sea studies. In 1838, Aivazovsky, who was awarded the Big Gold Medal, was sent to the Crimea for two years to work independently. In 1839, General N.N. Raevsky invited the artist to take part in the landing operations of V. Zhukovsky and many others.

Black Sea Fleet off the Caucasian coast. Aivazovsky sailed three times - his battle painting was born in it and friendship began with M. Lazorev, V. Kornilov, P. Nakhimov, the future famous admirals. With them he maintained friendly relations throughout his life. The courage and courage shown by Aivazovsky in a combat situation during the landing in Subash aroused sympathy for the artist among the sailors and a corresponding response in St. Petersburg. This operation is captured by him in the painting "Landing in Subashi". In 1840, Aivazovsky went on a pensioner's trip abroad "for further improvement in art." By that time he was already an established seascape master. The success of Aivazovsky in Italy and the European fame that accompanied him during a business trip brought romantic seascapes "Storm", "Chaos", "Neapolitan Night" and others. This success was perceived at home as a well-deserved tribute to the talent and skill of the artist. His Italian years are a series of successes that put the artist forward in the forefront of European painting. In Italy, Aivazovsky became friends with V. Gogol. In 1843, after Aivazovsky was awarded the Gold Medal of the French Academy, O. Vernet told him: “Your talent glorifies your Fatherland” - with these words, accurately denoting the meaning of the “European” activity of the painter. In 1857, Aivazovsky was perhaps the first among foreign artists to become a Chevalier of the French Order of the Legion of Honor. Since 1844, Aivazovsky has been in Russia. Immediately upon his return, he was awarded the title of academician, being assigned to the Main Naval Staff with the right to wear the Admiralty uniform. He was given an "extensive and complex order" - to paint all Russian military ports on the Baltic Sea. But Petersburg life was not to the liking of the artist. “A little breath in the spring draws me to the Crimea, to the Black Sea.” The very next year, he bought a plot of land in Feodosia and began building a house there with a large workshop. Soon, to the surprise of the St. Petersburg public, Aivazovsky left the capital and moved to Feodosia, despite success, recognition and numerous orders, the desire of the imperial family to make him a court painter. Aivazovsky's painting of the forties and fifties was marked by a strong influence of the romantic traditions of K.P. Bryullov, which affected not only the skill of painting, but also the very understanding of art and the worldview of Aivazovsky. Like Bryullov, he strives to create grandiose colorful canvases that can glorify Russian art. With Bryullov, Aivazovsky is related by brilliant painting skills, virtuoso technique, speed and courage of performance. This was very clearly reflected in one of the early battle paintings "Chesme Battle", written by him in 1848, dedicated to an outstanding naval battle. Noisy talk was caused in the St. Petersburg living rooms and the marriage of Aivazovsky. Having passionately fallen in love with the Englishwoman Yulia Grevs, the daughter of a St. Petersburg doctor who served as a governess, he “in two weeks”, 6

in his own words, he decided the matter, although - with his fame, prosperity and spectacular appearance - he could well have chosen a girl of noble birth as his wife. Four daughters were born in this marriage. At first, family life was quite prosperous - Yulia Yakovlevna, as it seemed, shared her husband's views and even took an active part in archaeological excavations near Feodosia, undertaken by Aivazovsky in 1853. Meanwhile, the family soon cracked. Aivazovsky's wife quickly got bored in the provinces and, having lived with the artist for 11 years, left him for Odessa - their further relationship was very difficult: Yulia Yakovlevna complained about Aivazovsky to the Tsar and in every possible way prevented him from communicating with his daughters. In his declining years, family happiness nevertheless smiled at the artist. In 1822 he married Anna Nikitichna Sarkizova, the young widow of a Feodosia merchant. Anna Nikitichna was almost 40 years younger than Aivazovsky, which did not prevent her from becoming a faithful friend and understanding interlocutor. In Feodosia, the artist was honored as the "father of the city." He insisted on the construction of a port in Feodosia and the construction of a railway, erected the building of a historical and archaeological museum, founded an art gallery, and solved the problem of supplying the city with drinking water. L. Lagorio, M. Latry, A. Fessler, K. Bogaevsky, M. Voloshin and others passed through the “General Art Workshops” opened by Aivazovsky (a kind of Feodosia branch of the St. Petersburg Academy of Arts). 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, made a long journey to America . During sea voyages, he enriched his observations, and drawings accumulated in his folders. But wherever Aivazovsky was, he was always attracted to his native Feodosia. “My address is always in Feodosia,” he wrote to P. Tretyakov. With the development of the realistic school in Russian painting, the creative positions of Aivazovsky, who continued to work in the style of romanticism, were somewhat shaken. But whenever they began to talk too loudly that Aivazovsky was outdated, that he was repeating himself, exploiting the same set of established techniques, the artist showed a new picture that made these rumors completely inappropriate. So it was with his masterpieces "Rainbow" (1873), "Black Sea" (1881), "Among the Waves" (1898). Aivazovsky's life proceeded calmly in Feodosia, without any bright events. In winter, he usually went to St. Petersburg, where he arranged exhibitions of his works. Personal exhibitions, which brought Aivazovsky a considerable income, followed one after another: in terms of their total number (more than 120 exhibitions), he is the absolute record holder not only in domestic, but, perhaps, in world painting. The sunset of Ivan Aivazovsky was bright. "Happiness smiled at me" - how- 7

then he remarked about his life, full of work and success. Aivazovsky died at home - April 19 (May 2, according to a new style), 1900. According to the will of Aivazovsky, he was buried in Feodosia, in the courtyard of the Church of Surb Sargis, where he was baptized and where he got married. The tombstone inscription - carved in ancient Armenian words of the historian of the 5th century Movses Khorenatsi - reads: "He was born a mortal, he left behind an immortal memory." This memory is gratefully kept by generations. 2. Style and technique of the artist Most of the images of the sea created by Aivazovsky are dreams born of the artist's imagination. Only in the second half of his life did he try to bring his aesthetic system in line with the requirements of realism3. Among the masters who influenced the formation of Aivazovsky's manner, three should be singled out - Claude Lorrain, Silverst Shchedrin and Karl Bryullov. Aivazovsky's own technique was based on work from memory. This also corresponded to his romantic aspirations, the desire to convey in his works the poetry of nature, which he always acutely felt, and his own feelings that accompany the quiet contemplation of nature. For this, it was necessary to have a phenomenal memory than Aivazovsky's 3Realism in literature and art, a truthful, objective reflection of reality by specific means inherent in one or another type of artistic creativity. eight

was gifted from birth. This desire was dictated by the "cursive writing" of the artist - in order to transfer a direct feeling to the canvas, he had to work quickly and in large quantities, otherwise the original charm would disappear. Gradually, more precise formulas of his artistic religion appeared: “A painter who only copies nature becomes her slave, bound hand and foot. The movement of the living elements is elusive for the brush: writing lightning, a gust of wind, a splash of a wave is unthinkable from nature. To do this, the artist must memorize them ... The plot of the paintings is formed in my memory, like a poet; having made a sketch on a piece of paper, I get to work and until then I do not leave the canvas until I express myself on it with a brush ... "In accordance with the requirements of modern realism, which then came to the fore in Russian painting, Aivazovsky modernized the style of writing without changing at the same time, to his intimate artistic preferences and remaining within the framework of that well-established artistic system that we call the world of Aivazovsky. The artist noticeably dimmed the palette, which previously amazed with its unbridled brightness and made his work unnecessarily theatrical. He turned to soft color relationships, subtle transitions, almost monochrome painting. Aivazovsky specifically chose gloomy days for observation, when the sea does not sparkle with all the colors of the rainbow, and the border between water and sky is lost in a gray haze and requires the artist who paints it to skillfully handle the finest halftones. The subject of his work has also expanded - along with the usual seascapes at Aivazovsky began to appear "dry traveling" pictures. All Aivazovsky's works have one feature that gives them a special charm. Everywhere - even in the most "raging" images created by the artist, one can see an indispensable ray of light breaking through the breaks in the clouds. This detail was extremely important for the artist. According to Aivazovsky's contemporaries, he began to paint each picture from the sky and, regardless of the size of the canvas, completed this part in one session. An attentive viewer will not hide the fact that the air ocean, penetrated by sunlight, interested Aivazovsky no less than the water one. The artist's paintings are called "seascapes", but it would not be a mistake to call them "landscapes of heaven". Ivan Aivazovsky considered his best canvases to be those in which the main force is the light of the sun. For him, there were no secrets in how to write, how to convey the movement of a wave, its transparency, how to depict a light, scattering network of falling foam on the bends of the waves. He perfectly knew how to convey the roll of the waves on the sandy shore, so that the viewer could see the coastal sand shining through the foamy water. He knew many techniques for depicting waves breaking on coastal rocks. Finally, he deeply comprehended the various states of the air environment, the movement of clouds and clouds. All this helped him brilliantly embody his 9

pictorial ideas and create bright, artistically executed works. 3. Aivazovsky - an unsurpassed master of the seascape The star book was clear to him And the sea wave spoke to him 10

Aivazovsky's romantic worldview was especially clearly manifested in a series devoted to the history of the Russian Navy - in it he depicted all the most important battles of Russian sailors. These canvases were painted by the artist with skill. He was well aware of the device and design of warships due to his participation in the maneuvers of the Baltic Fleet in 1836, in the landing operation of M. Lazarev off the Caucasian coast in 1839, in the expedition of Admiral Litke to the islands of the Greek archipelago in 1845. Aivazovsky created a number of excellent canvases depicting sea battles. The pictures of Aivazovsky's naval battles became a chronicle of the exploits of the Russian navy, they vividly reflect the historical victories of the Russian fleet, the legendary feats of Russian sailors and naval commanders: "Peter I on the shores of the Gulf of Finland" (1846), "Chesme battle" (1848), "Navarinoboy" (1848), "Brig "Mercury" is fighting with two Turkish ships" (1892) and others. But the spirit of epic heroism is fanned not only by Aivazovsky's battle paintings. His best romantic works of the second half of the 40-50s are: "Storm on the Black Sea" (1845), "St. George's Monastery" (1846), "Entrance to the Sevastopol Bay" (1851). In the 1860s, Aivazovsky expanded the themes of his work. Turning to the "land" plots. This move was not unexpected. It was at this time that his accusations that he could only paint “waves” became commonplace, and the artist needed to prove that his talent was quite universal. Aivazovsky had a lively, responsive mind, and in his work one can find paintings on a wide variety of topics. Several Ukrainian landscapes came out from under his brush: “Chumatsky Convoy” (1868), “Ukrainian Landscape” (1868), “Windmills in the Ukrainian steppes at sunset” (1862) and others, coming close to the landscape of the masters of Russian ideological realism. The Ukrainian steppe has long fascinated Aivazovsky (since his first trip to St. Petersburg). This love shines through in these works. Aivazovsky's closeness to Gogol, Shevchenko, Sternberg played a role in this attachment to Ukraine. "Wedding in Ukraine" (1891) - perhaps the most famous "land" landscape of Aivazovsky. Elements of a genre painting are obvious in it, testifying to a certain ethnographic curiosity of the artist. But even here “everyday life” turns out to be not “everyday” at all – romantic emotionality shines through in the depiction of a rural celebration that accompanies the wedding of the newlyweds. The festivity of the atmosphere is emphasized by bright spots of clothes, contrasting with the tones of pre-storm clouds, heavily floating over the village. In Ukrainian landscapes, the viewer will discover the best features inherent in Aivazovsky's seascapes: virtuoso perspective building, transparency and sophistication of the palette, romantic excitement. And yet - these images are clearly inferior to the images of the sea element created by him. eleven

Aivazovsky's painting is, for the most part, painting of storms and storms; the sea element in his works seethes and rages, destroys ships, raises giant waves, breaks into a myriad of splashes. The artist's paintings almost sound - they rustle with the surf, flap with tattered sails, howl with a wild wind. Aivazovsky, who wrote storms for decades, in his best works, such as "Storm on the Arctic Ocean" (1864) or "Ship" Empress Maria "(1892) - do not become monotonous. Every storm by Aivazovsky has its own face, its own become, its own habits. Regarding one of these paintings by Aivazovsky F.M. Dostoevsky wrote: “The storm ... of Mr. Aivazovsky ... is amazingly good, like all his storms, and here he is a master - without rivals ... There is rapture in his storm, there is that eternal beauty that amazes the viewer in a living, real storm ...” [ ; ] 1867 is associated with a major event of great social and political significance - the uprising of the inhabitants of the island of Crete, which was in the vassal possession of the Sultan. This was the second (during the life of Aivazovsky) rise in the liberation struggle of the Greek people, which caused a wide sympathetic response among progressive-minded people around the world. Aivazovsky responded to this event with a large cycle of paintings. In 1868 Aivazovsky undertook a journey to the Caucasus. He painted the foothills of the Caucasus with a pearl chain of snowy mountains on the horizon, panoramas of mountain ranges stretching into the distance like petrified waves, the Darial Gorge and the village of Gunib, lost among the rocky mountains, the last nest of Shamil. In Armenia, he painted Lake Sevan and the Ararat Valley. He created several beautiful paintings depicting the Caucasus Mountains from the eastern coast of the Black Sea. The following year, 1869, Aivazovsky went to Egypt to participate in the opening ceremony of the Suez Canal. As a result of this trip, a panorama of the canal was painted and a number of paintings were created reflecting the nature, life and life of Egypt, with its pyramids, sphinxes, camel caravans. In 1870, when the fiftieth anniversary of the discovery of Antarctica by Russian navigators F.F. Bellingshausen and M.P. Lazarev, Aivazovsky painted the first picture depicting polar ice - "Ice Mountains in Antarctica". This picture is an illustrative example of the "composed" works of the artist. Meanwhile, in details and details, he is absolutely accurate. Working on it, the master recalled the stories of Admiral Lazarev, with whom - during his service as commander of the Black Sea Fleet - he was friends. During the celebration of Aivazovsky on the occasion of the fiftieth anniversary of his work, P. P. Semenov-Tyan-Shansky said in his speech: “The Russian Geographical Society has long recognized you, Ivan Konstantinovich, as an outstanding geographical figure ...” and indeed, many of Aivazovsky’s paintings combine artistic merit and great cognitive value. "Rainbow". There is nothing in the plot of this picture - a storm at sea and a ship sinking near a rocky shore.

unusual for the work of Aivazovsky. But its colorful range, picturesque execution was a completely new phenomenon in Russian painting of the seventies. Depicting this storm, Aivazovsky showed it as if he himself was among the raging waves. A hurricane blows the mist off their crests. As if through a rushing whirlwind, the silhouette of a sinking ship and the indistinct outlines of a rocky shore are barely visible. The clouds in the sky dissolved into a transparent wet shroud. Through this chaos, a stream of sunlight made its way, laying down like a rainbow on the water, giving the color of the picture a multi-colored coloring. The whole picture is written in the finest shades of blue, green, pink and purple colors. The same tones, slightly enhanced in color, convey the rainbow itself. It flickers with a barely perceptible mirage. From this, the rainbow acquired that transparency, softness and purity of color, which always delights and enchants us in nature. The painting "Rainbow" was a new, higher level in the work of Aivazovsky. In the work of Aivazovsky in the seventies, one can trace the appearance of a number of paintings depicting the open sea at noon, painted in blue colors. The combination of cold blue, green, gray tones gives the feeling of a fresh breeze, raising a cheerful swell on the sea, and the silver wing of a sailboat, foaming a transparent, emerald wave, involuntarily evokes Lermontov's poetic image: A lonely sail turns white ... All the beauty of such paintings lies in crystal clarity , the sparkling radiance they radiate. No wonder this cycle of paintings is called "blue Aivazovsky". "Ultimate" and "mysterious" states of nature have always attracted romantics - this explains the huge popularity of "nocturnes" in their work. Aivazovsky was no exception. Moreover, hardly anyone can compare with him in the depiction of moonlit nights. Aivazovsky's paintings are characterized by the finest color development and the meticulous construction of the composition. “Moonlit Night at the Sea”, “Moonrise” - this theme runs through all of Aivazovsky's work. The effects of moonlight, the moon itself, surrounded by light transparent clouds or peering through clouds torn by the wind, he was able to depict with illusory accuracy. The images of the night nature of Aivazovsky are one of the most poetic images of nature in painting. Often they evoke poetic and musical associations. Aivazovsky was close to many Wanderers. The humanistic content of his art and brilliant craftsmanship were highly valued by Kramskoy, Repin, Stasov and Tretyakov. In their views on the social significance of art, Aivazovsky and the Wanderers had much in common. Long before the organization of traveling exhibitions, Aivazovsky began to arrange exhibitions of his paintings in St. Petersburg, Moscow, as well as in many other large cities of Russia. In 1880, Aivazovsky opened the first peripheral art gallery in Russia in Feodosia. Under the influence of the advanced Russian art of the Wanderers, the realistic features of this series were manifested with particular force in the work of Aivazovsky, 13

made his works even more expressive and meaningful. Apparently, therefore, it has become customary to consider Aivazovsky's paintings of the seventies the highest achievement in his work. Now for us it is quite clear the process of continuous growth of his skill and deepening of the content of the pictorial images of his works, which took place throughout his life. 4. Famous Works Aivazovsky was an extraordinarily prolific artist, painting over 6,000 paintings in his lifetime. The lion's share falls on seascapes, more than two thirds - on the image of storms and storms. This is a whole encyclopedia of the sea. Despite the accuracy of details and realistic authenticity, the artist almost never painted from life, did not make sketches for paintings, and very rarely used preparatory sketches. And it was not a whim of a genius, but a principled position. 4.1. Battle of Chesme (1848) Aivazovsky, who was appointed in 1844 "painter of the Main Naval Staff", took up, in addition to views of Russian northern ports, historical battle painting. The victories of Russian sailors delighted him, he was friends with the Russian fleet so closely that when in 1846 the artist celebrated the tenth anniversary of his creative activity, a whole squadron under the command of V. Kornilov, the future hero of the Sevastopol defense, came to Feodosia to greet him. The spectacular picture "Chesme Battle" tells the viewer about the most important episode of the Russian-Turkish war of 1768-1774. In June 1770, the Russian united squadron locked the Turkish fleet, which was then considered one of the strongest in the world, in the Chesme Bay and on the night of June 26 almost completely destroyed it. The Turks lost 10 thousand people in this battle - only 11. The commander of the fleet, Count A. Orlov, reported this “victory” to Catherine II: “we attacked the enemy fleet, defeated, broke it, burned it, let it go to heaven, turned it into ashes: began to be dominant throughout the archipelago. Control over the Dardanelles was established. The desire for lighting effects reveals itself in the way the artist paints the moon, whose cold light contrasts with the fiery glow on the water. The Turkish ship is depicted at the time of the explosion. Flashes of flame, puffs of smoke, debris flying upwards are written so effectively that it all resembles a festive illumination. A boat with a group of Lieutenant Ilyin is approaching the flagship of the Russian fleet, just 14

who blew up his firewall - this was the name of special “kamikaze” ships stuffed with combustible explosives. Turkish sailors are trying to escape on the wreckage of the ship. The general "prettyness" of the group points to the "academic" (among others) sources of Aivazovsky's work. 4.2. Rainbow (1873) Starting from the 1860s, Aivazovsky's "improvisational" manner of writing, who did not copy the world from nature, but seemed to recall and even compose it, came into conflict with the latest trends in contemporary Russian painting. The expression of these new trends was the organization at the turn of 1860-70 of the Association of Traveling Art Exhibitions. The Wanderers professed hard realism, preferring socially significant works to romantically agitated canvases. At the same time, critics loudly talked about the fact that Aivazovsky's talent had dried up, he was repeating himself and, in general, he could not write anything but waves. The answer to these accusations was the painting "Rainbow", which marked a new stage in the artist's work. On the one hand, we have another "shipwreck" of Aivazovsky. But, on the other hand, it is not at all like his previous “shipwrecks” and “storms”. Without abandoning his own principles, in this work he greatly modernizes them - this is especially noticeable in the color scheme of the canvas. The former "exaggerated" (according to the artist's own words) colors give way to a more restrained and at the same time more subtly developed color scheme. Less "invention", more realism - this is an obvious replica of the mater in a dialogue with modernity. Although romantic tension remains a characteristic feature of this work. Depicting this storm, Aivazovsky showed it as if he himself was among the raging waves. A hurricane wind tears off white foam from them, raising water dust in a column. As if through a rushing whirlwind, the silhouette of a sinking ship and the indistinct outlines of a rocky shore are barely visible. The tilted ship is slowly sinking into the depths of the sea. Apparently, the ship hit the reefs near the shore - this was the cause of the shipwreck. The people who escaped from the ship froze in various poses in the boat, painted in the foreground, which is lighter than the back. One of them raised his hand, pointing at the shimmering rainbow. The clouds in the sky dissolved into a transparent wet shroud. Through this chaos, a stream of sunlight made its way, laying down like a rainbow on the water, giving the color of the picture a multi-colored coloring. A rainbow, transparently and slightly noticeably glowing against a thunderstorm background, looks like a mirage. The artist achieves this effect by a skillful combination of shades of different colors. The whole picture is written in the finest shades of blue, green, pink and purple colors. With the same tones, slightly enhanced in color, 15

the rainbow itself. It flickers with a barely perceptible mirage. From this, the rainbow acquired that transparency, softness and purity of color, which always delights and enchants us in nature. The painting "Rainbow" was a new, higher level in the work of Aivazovsky. 4.3. Black Sea (1881) In 1881, Aivazovsky created one of the most significant works - the painting "Black Sea". The sea is depicted on an overcast day; waves, arising at the horizon, move towards the viewer, creating by their alternation a majestic rhythm and sublime structure of the picture. It is written in a stingy, restrained color scheme that enhances its emotional impact. No wonder Kramskoy wrote about this work: “This is one of the most grandiose paintings that I know” [ ; ] The deepest metaphysics is hidden behind the external realism of this canvas. "Sea" and "sky" - these are his two main characters. The plot is their confrontation and unity. The "Black Sea" is distinguished by some kind of irrevocable rhythm that corresponds to the eternal measured breath of the world and externally manifests itself in waves rhythmically replacing each other. The artist first showed the picture at the exhibition of the Academy of Arts under a slightly different narrative title - "A storm begins to play out on the Black Sea." Later, he ruled out narrative, shortening the title to the precise and capacious "Black Sea" and thereby emphasizing the desire to present in the picture a realistic and at the same time extremely generalized image of the sea element. Heavy clouds float across the sky, threatening a nearby storm. The sun shines through the gaps between them. The silhouette of a distant ship is the only sign of human presence in the world. He seems - in comparison with the internal power of the depicted elements - timid and unreliable. The horizon line separates and at the same time connects the sea and the sky into a single whole. There, in the distance, the sea seems calm, in contrast to the waves, more powerfully running into each other in the foreground. The crests of the nearest waves are strongly highlighted. These light lines, in parallel rows, going into the distance, set the rhythm of the picture, similar to an impressive tread. I. Kramskoy was a big fan of this work - he even included it in his own famous painting “Inconsolable Grief”, place it behind the heroine’s back and make it a kind of “mirror” of her emotional experiences. “Aivazovsky has things, phenomenal - for example,“ The Sea ”. This is one of the most grandiose paintings that I know.” The painting testifies that Aivazovsky was able to see and feel the beauty of the sea element close to him, not only in external pictorial effects, but also in the subtle strict rhythm of her breathing, Kramskoy noted, 16

its clearly tangible potential power. Stasov wrote about Aivazovsky many times. He disagreed with many things in his work. He especially violently rebelled against the improvisational method of Aivazovsky, against the ease and speed with which he created his paintings. And yet, when it was necessary to give a general, objective assessment of Aivazovsky's art, he wrote: "The marine painter Aivazovsky, by birth and by nature, was an absolutely exceptional artist, vividly feeling and independently conveying, perhaps, like no one else in Europe, water with its extraordinary beauties" [ ; ] 4.4. Among the waves (1898) It is difficult, almost impossible to believe that Aivazovsky was eighty-second at the time of the creation of this picture. Nothing here speaks of the fatigue of the soul or senile weakness of the hands: the powerful music of this work enchants and captivates the viewer. This canvas became, as it were, the “second series” of the majestic image captured by the artist in the “Black Sea”. There, a storm begins; here - it has already played out. Such, almost monochrome, painting by Aivazovsky does not at all seem monotonous - it seems to glow from within with a deep inner light. It seems that the artist saw his creative testament in this huge canvas - he did not show it at any of the exhibitions organized in the last two years of his life and bequeathed it to his native Feodosia. When you look at this picture, a feeling of primordial chaos is created. Rising waves collide with each other, break, fall, raising clouds of water dust. In this work, there are no “rest points” – everything is in constant motion. A sunbeam, almost a pillar of sunshine, breaks the veil of lead clouds here, promising an early end to the storm. Aivazovsky was always extremely interested in the change in the natural states of the sea element. Between the clouds and the rearing sea lay a narrow deep gap - and it also portends the imminent retreat of bad weather. He abandoned the usual details in his paintings in the form of fragments of masts and dying ships lost in the boundless sea. He knew many ways to dramatize the plots of his paintings, but did not resort to any of them while working on this work. The picture is painted in multiple shades of grayish and bluish-green colors - such a coloristic stinginess, characteristic of the late Aivazovsky, gives his works of this period a special charm. The mastery of the painting "Among the Waves" is the fruit of a long and hard work of the artist's entire life. Work on it proceeded quickly and easily. Obedient to the hand of the artist, the brush sculpted exactly the shape that the master wanted, and laid the paint on the canvas in the way that the experience of skill and the intuition of a great artist, who did not correct the once put brushstroke, prompted him. Apparently, Aivazovsky himself was aware that the painting "Among the Waves" was much higher in execution of all previous works.

recent years. Despite the fact that after its creation, he worked for another two years, arranged exhibitions of his works in Moscow, London and St. Petersburg, he did not take this painting out of Feodosia, he bequeathed it, along with other works that were in his art gallery, to his native city of Feodosia. Thus, no matter what period of Aivazovsky’s activity we turn to, we will everywhere find canvases of exceptional power, filled with genuine inspiration: “The Ninth Wave” (1850), “The Sea” (1864), “Rainbow” (1873), “Black Sea” (1881), "Among the Waves" (1898) and many others. They are the enduring value of his legacy. 5. The Ninth Wave - a masterpiece of Russian fine art In Russia, this is one of the most beloved works of Russian art, replicated in millions of copies of reproductions. Moreover, huge popularity came to him immediately after his 18

the first show to the general public, held in the fall. 1850 at the Moscow School of Painting, Sculpture and Architecture. The flow of people who wanted to look at the "Ninth Wave" did not dry out, many went to watch it several times. This was somewhat reminiscent of the pilgrimage to the “Last Day of Pompeii” by K. Bryullov that happened sixteen years earlier. It is not by chance that Bryullov is recorded as Aivazovsky's direct teacher, although the latter attended a completely different workshop at the Academy. Much has this masterpiece in common with Bryullov's "Pompeii" - both of these paintings were the highest flowering of romanticism in Russian fine art. Soon other times came when the "fatal passions" ceased to be popular, giving way to the "truth of life." Aivazovsky got a lot from the latest criticism, but even its apologist, V. Stasov, invariably admitted that “the marine painter Aivazovsky was an absolutely exceptional artist by birth and by nature.” If we talk about Aivazovsky’s work in general, in his paintings painted in different periods life, traits of romanticism and realism can be traced. Romantic features were especially pronounced in the painting "The Ninth Wave". Aivazovsky depicted an early morning after a stormy night. The first rays of the sun illuminate the raging ocean and a huge ninth wave, ready to fall on a group of people seeking salvation on the wreckage of the masts. The crest of the ninth wave rises menacingly above the people trying to escape on the wreckage of the ship. According to ancient maritime beliefs. In the waves following one after another during a storm, every ninth one becomes the most powerful and terrible - hence the name of the picture. As in most of Aivazovsky's "stormy" images, the sun is present - it stubbornly breaks the veil of clouds and water dust, promising a clear day and the saving pacification of the elements. And here Aivazovsky the romantic again does not regret the colors. The survivors of the stormy night are desperately fighting the elements. And although the ninth wave hangs over them, threatening them with death, the canvas is more “beautiful” than “tragic” - and this again sounds like a clear echo of academicism. Waved water glistens, reflecting the sun's rays. The author, rapidly applying strokes (and Aivazovsky wrote “The Ninth Wave in Eleven Days, without changing his rule of improvisational “cursive writing”), as if admiring his creation - the viewer, feeling this, believes even less in the tragedy of the plot presented. Aivazovsky masterfully inscribes the furious foam of the ninth wave. If we divide the whole picture into nine equal fragments with four lines (two horizontal and two vertical), then the top of the ninth shaft will fall at the intersection point of the left vertical and lower horizontal lines. Such a clear construction of the composition testifies to the well-learned "academic" lessons. Aivazovsky found the exact means to depict the greatness, power and beauty of the sea. Despite the drama of the plot, the picture does not leave a gloomy impression; on the contrary, it is full of light and air and all 19

penetrated by the rays of the sun, giving it an optimistic character. This is largely facilitated by the color structure of the picture. It is written in the brightest colors of the palette. Its coloring includes a wide range of shades of yellow, orange, pink and purple in the sky, combined with green, blue and purple in the water. The bright, major color scale of the picture sounds like a joyful hymn to the courage of people who defeat the blind forces of a terrible, but beautiful element in its formidable grandeur. This picture found a wide response at the time of its appearance and remains to this day one of the most popular in Russian painting. The image of the raging sea elements excited the imagination of many Russian poets. This is clearly reflected in the verses of Baratynsky. Willingness to fight and faith in the final victory sound in his poems: So now, ocean, I long for your storms - Get excited, rise on stone edges, He amuses me, your formidable, wild roar, Like the call of a long-desired battle, Like a powerful enemy to me something flattering anger ... In this way, the sea also entered the formed consciousness of the young Aivazovsky. The artist managed to embody in marine painting the feelings and thoughts that agitated the progressive people of his time, and to give a deep meaning and significance to his art. 20

6. Graphic works by Ivan Aivazovsky Speaking about Aivazovsky's work, one cannot help but dwell on the great graphic heritage left by the master, because his drawings are of great interest, both from the side of their artistic execution, and for understanding the artist's creative method. Aivazovsky always painted a lot and willingly. Among the pencil drawings, works dating back to the forties, by the time of his academic trip of 1840-1844 and sailing off the coast of Asia Minor and the Archipelago in the summer of 1845, stand out for their mature skill. The drawings of this pore are harmonious in terms of the compositional distribution of masses and are distinguished by a strict elaboration of details. The large size of the sheet and graphic completeness speak of the great importance that Aivazovsky attached to drawings made from nature. These were mostly images of coastal cities. With sharp hard graphite, Aivazovsky painted city buildings clinging to mountain ledges, receding into the distance, or individual buildings he liked, including them in landscapes. Using the simplest graphic means - a line, almost without using chiaroscuro, he achieved the finest effects and accurate transmission of volume and space. The drawings he made during his travels always helped him in his creative work. In his youth, he often used drawings to compose paintings without any changes. Later, he freely processed them, and often they served him only as the first impetus for the implementation of creative ideas. The second half of Aivazovsky's life includes a large number of drawings made in a free, broad manner. In the last period of his creative work, when Aivazovsky made sketches of his travels, he began to draw freely, reproducing with a line all the curves of the form, often barely touching the paper with a soft pencil. His drawings, having lost their former graphic rigor and distinctness, acquired new pictorial qualities. As Aivazovsky's creative method crystallized and vast creative experience and skill accumulated, a noticeable shift took place in the artist's work, which affected his preparatory drawings. Now he creates a sketch of the future work from his imagination, and not from a natural drawing, as he did in the early period of creativity. Not always, of course, Aivazovsky was immediately satisfied with the solution found in the sketch. There are three versions of the sketch for his latest painting "Explosion of the ship". He strove for the best composition solution even in the drawing format: two drawings were made in a horizontal rectangle and one in a vertical one. All three are made with a cursory stroke, conveying the scheme of the composition. Such drawings, as it were, illustrate the words of Aivazovsky related to the method of his work: “Having sketched with a pencil on a piece of paper the plan of the picture I conceived, I set to work and, so to speak, give myself to it with all my heart” [ ; ]. 21

For graphic works, Aivazovsky used a variety of materials and techniques. The sixties include a number of finely painted watercolors made in one color - sepia. Using usually a light filling of the sky with highly diluted paint, barely outlining the clouds, slightly touching the water, Aivazovsky laid out the foreground widely, in a dark tone, painted the mountains of the background and painted a boat or ship on the water in a deep sepia tone. With such simple means, he sometimes conveyed all the charm of a bright sunny day on the sea, the rolling of a transparent wave on the shore, the radiance of light clouds over the deep sea distance. In terms of the height of skill and subtlety of the transmitted state of nature, such sepia by Aivazovsky go far beyond the usual idea of watercolor sketches. In 1860, Aivazovsky painted this kind of beautiful sepia4 "The Sea after the Storm." Apparently, Aivazovsky was satisfied with this watercolor5, since he sent it as a gift to P.M. Tretyakov. Aivazovsky widely used coated paper, drawing on which he achieved virtuoso skill. These drawings include "The Tempest", created in 1855. The drawing was made on paper, tinted in the upper part with warm pink, and in the lower part with steel gray. With various methods of scratching the tinted chalk layer, Aivazovsky well conveyed the foam on the crests of the wave and the glare on the water. an idea of his work and his peculiar method of work. Aivazovsky's graphics enrich and expand our usual 4Sepia - (from the Greek. sepia - cuttlefish), 1) light brown paint from the ink bag of a sea mollusk (sepia). Used by European artists from ser. 18th century when drawing with pen and brush. In the 20th century replaced by artificial dyes such as watercolors. 5Watercolor (French word - aquarelle, Italian word - acquerello, Latin word - aqua - water), paints diluted with water, as well as painting with these paints. 22

Conclusion The sea... No one depicted its boundless distance and luminous sunrises, the witchcraft of moonlit nights and the formidable fury of storms as poetically and with inspiration as Aivazovsky. In the minds of generations, he was and remains an incomparable singer of the sea, a completely unique artist. “The sea is my life,” said the master. Aivazovsky's work expressed not only his own soul, his feelings, moods, but also man's eternal love for the boundless water element. Passionate to deification, the artist's love for the sea, the ability to amazingly vividly convey his breath and excitement - this is the source of that sometimes incomprehensible, but attractive force that Aivazovsky's paintings possess. But this, of course, is not limited to their dignity. The main thing in the art of the great marine painter is stunning skill. It allowed him to solve any pictorial task with surprising ease, to achieve a special color sound in the transmission of the lively play of the cold and harsh water element or the warm, unsteady atmosphere of giant air masses bordering water warmed by the sun. Naturally, to tangibility, he depicted myriads of splashes raised by a strong wind, and transparent sea depths. The unprecedented success of the young artist in Italy, France, Holland, England in the 1840s was not accidental - this success was due to the deep emotionality, romantic spirituality of his art. Eugene Delacroix, the head of French romantic painting, spoke of Aivazovsky with high respect, and the famous English marine painter William Turner dedicated poems to him and called him a genius. In our tense and anxious days, when the Earth - the cradle of man - no longer seems like a cloudless paradise, and genuine culture urgently requires protection, the art of one of the original singers of beauty, the great humanist, is filled with new meaning and significance 23

Ivan (Hovhannes) Aivazovsky. Aivazovsky gained worldwide fame as a representative of Russian art. Since the 1840s, more than 120 of his solo exhibitions have been held in the cities of Europe and America, which were a huge success. Russian art was becoming widely known, and Aivazovsky's role here is truly invaluable. Occupying a very special place in the art of the 19th century, he, an Armenian by birth, was and remains one of the most popular Russian artists. References 1 Aivazovsky Ivan Konstantinovich. - M., 1965; 2 Dolgopolov I. Masters and masterpieces. - M., 1987; 3 Ionina N.I. "One Hundred Great Pictures" - Veche, 2002; 4 Popular Art Encyclopedia. - M., 1986. 5 Aivazovsky / Masterpieces of Russian painting No. 2, 2010 6 Internet resources: http://aivazovsky.narod.ru/ http://ru.wikipedia.org/ 24

Appendix 25

Annex 1 26

Ice mountains in Antarctica Appendix 2 27

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Literature and art of the XIX century. Romanticism Pushkin - "the pet of pure muses" A.S. Pushkin and I.K. Aivazovsky. "The Fiery Poet of the Sea" Legacy of the great marine painter

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(fr. romantisme) - a phenomenon of European culture in the XVIII-XIX centuries. Romanticism replaces the Age of Enlightenment. It is characterized by the assertion of the inherent value of the spiritual and creative life of the individual, the image of strong (often rebellious) passions and characters, spiritualized and healing nature. In the 18th century, everything that was strange, fantastic, picturesque, and existing in books, and not in reality, was called romantic. At the beginning of the 19th century, romanticism became the designation of a new direction, opposite to classicism and the Enlightenment. Romanticism Complete freedom of artistic creativity

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A. Tyranov. Portrait of I. Aivazovsky 1841 Tretyakov GalleryV. Tropinin. Portrait of A.S. Pushkin 1827 Pushkin State Museum, St. Petersburg

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Pushkin at Pushkin's Farewell from the Black Sea Coast By the Black Sea Acquaintance with Pushkin made an indelible impression on the young Aivazovsky. “Since then, the poet I already loved has become the subject of my thoughts, inspiration and long conversations, stories about him,” the artist recalled. Aivazovsky worshiped the talent of the greatest Russian poet all his life, dedicating a whole cycle of paintings to him later, in the 1880s. In them, he combined the poetry of the sea with the image of the poet.

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Lord of the Sea Portrait of I.K. Aivazovsky by S.A. Rymarenko (1846) There is an opinion that the poet and the artist were somewhat similar. Aivazovsky wrote about 6 thousand paintings, drawings and sketches. Among them, the most famous are: “The Ninth Wave” (1850), “The Black Sea” (1881) - recreating the greatness and power of the sea element, the image of naval battles - “The Battle of Navarra”, “The Battle of Chesme” (both - 1848), a series of paintings “ Defense of Sevastopol” (1859).

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MARINISM. (Italian marina, from lat. marinus - sea) - a work of painting or graphics depicting a sea view, a scene of a sea battle or other events taking place at sea. Artists depicting the sea are called MARINISTS

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"Sea fiery poet"

“The sea is my life,” said Aivazovsky. His work is a kind of marine encyclopedia. From it you can learn in detail about any state in which the water element is: calm, and light excitement, and a storm, and a storm that produces the impression of a universal catastrophe - here you can see it, this element, at any time of the day - from radiant sunrises to magical moonlit nights - and at any time of the year you can count dozens of shades that color the sea waves - from transparent, almost colorless through all conceivable nuances of blue , blue, azure to thick blackness.

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Contents Literature and art of the XIX century. Romanticism Pushkin - "the pet of pure muses" A.S. Pushkin and I.K. Aivazovsky. "The Fiery Poet of the Sea" Legacy of the great marine painter

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A. Tyranov. Portrait of I. Aivazovsky 1841 Tretyakov Gallery V. Tropinin. Portrait of A.S. Pushkin 1827 Pushkin State Museum, St. Petersburg

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“The fiery poet of the sea” “The sea is my life,” said Aivazovsky. His work is a kind of marine encyclopedia. From it you can learn in detail about any state in which the water element is: calm, and light excitement, and storm , and a storm that gives the impression of a universal catastrophe - here you can see it, this element, at any time of the day - from radiant sunrises to magical moonlit nights - and at any time of the year you can count dozens of shades that color the sea waves - from transparent, almost colorless through all conceivable nuances of blue, blue, azure to deep blackness.

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Ways of depicting water.

Soap painting.

Dip the brush in a small amount of blue watercolor paint. Then rotate the bristles of the brush over the surface of the old bar of soap.

Apply the resulting soap paint directly onto the surface of the watercolor paper, creating a wavy motion with a brush stroke.

Dip the brush in blue paint of any shade and dilute it again with soap. Now add new ones on top of the old waves.

With the help of thick red and blue watercolor paints, draw a ship and circle its outline with a thin felt-tip pen.

Draw water ripples

Moisten your watercolor paper with clean water.

Color it with blue watercolor paint, leaving white spaces.

When the paint is dry, add wavy lines in a darker blue color.

Apply a few more even dark strokes with the tip of the brush.

Take a brown oil pastel, a sheet of thick drawing paper and draw rounded stones. Put shadows on them

Now use turquoise oil pastel to draw wavy lines around the stones.

Under each stone, add dark blue pastel shadows and some more wavy lines. Color the reflection of the water on the rocks in turquoise.

"Marinist's Workshop"

Marine painter's workshop.

Aivazovsky, as a rule, painted his paintings without preliminary sketches and sketches. But there were also exceptions. The sketch for the painting "Chaos" focuses on infinite space. From an unimaginable distance comes light that breaks into the foreground. According to Christian philosophy, God is light. Many of Aivazovsky's works are imbued with this idea. In this case, the author masterfully coped with the task of reproducing light. Back in 1841, Aivazovsky presented a picture of this content to the Pope, after Gregory XVI decided to buy it for his collection. N. V. Gogol (1809-1852), who highly appreciated the work of an unknown young scholarship holder, wrote: “The image of Chaos, by all accounts, is distinguished by a new idea and is recognized as a miracle of art.” Another, playful statement by Gogol is also known: “ You came, little man, from the banks of the Neva to Rome and immediately raised "Chaos" in the Vatican.

"Chaos", 1841.

When they say " Ninth Wave", usually this great artist is immediately remembered, and when they say Aivazovsky, everyone immediately remembers The Ninth Wave.

Surprisingly, The Ninth Wave, an example of his early work as an artist, nevertheless represents the pinnacle of the first, romantic period in his work. The picture was painted in 1850, when the artist was only 33 years old and he was in the prime of his creative powers. His paintings were enthusiastically received by a wide range of viewers, connoisseurs and connoisseurs of art, and critics.

Ninth Wave, 1850

This painting depicts a storm sea and a shipwreck. In the foreground, people are trying to escape from a natural disaster; behind the crests of high waves, a ship with sails torn in the wind is visible. Mountains and a city are depicted in the background, but no one can help them now, the elements are stronger. The tragedy and hopelessness of the situation is exacerbated by the gloomy tones of the raging storm. The picture shows the insignificance of man and his creations in the formidable face of the elements. But at the same time, the picture also gives hope for salvation, a ray of light has already broken through the clouds and it portends the end of the storm.

"Storm", 1857.

On a monumental canvas of an unusually wide format, the artist captured three states of the sea - calm, an impending storm and a hurricane, symbolizing three periods of a person’s life: serene youth, mature years filled with the struggle for existence and old age, perceived as a continuation of the struggle.

"Hurricane", 1895

The Battle of Chesma is one of the most glorious and heroic pages in the history of the Russian fleet. Aivazovsky was not, and could not be, a witness to the event that took place on the night of June 26, 1770. But how convincingly and authentically he reproduced on his canvas the picture of a naval battle. Ships explode and burn, fragments of masts fly up to the sky, flames rise, and scarlet-gray smokes mix with clouds through which the moon looks at what is happening. Its cold and calm light only emphasizes the hellish mixture of fire and water in the sea. It seems that the artist himself, when creating a picture, experienced the rapture of the battle, where the Russian sailors won a brilliant victory.

"Chesme battle", 1770.

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

"Rainbow", 1873

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"The main stages of the life and work of Aivazovsky"

The main stages of the life and work of I. Aivazovsky

Feodosia is a small port town at the foot of the Crimean Mountains. On the hill is a conspicuous white house overlooking the sea. On July 17, 1817, an entry appeared in the book of births and baptisms of the local Armenian church: “Hovhannes, the son of Gevorg Ayvazyan, was born.” The boy's father, the market headman, who took care of two more daughters and two sons, lived extremely hard after the plague of 1812, which also covered Feodosia. Gevorg's wife, Hripsime, a skilled embroiderer, helped support the family. Years will pass, and the world will learn about the greatest of the marine painters - Ivan Konstantinovich Aivazovsky.

The artist's children's drawings have not been preserved. They were… on the sand. As soon as it was light the boy jumped out of bed and ran to the sea. There for the first time he saw scarlet sails. As if emerging from the water, the rays of the sun hit the sails of the ship, and they turned red ...

The picture shook the child's imagination, and he rushed to draw this vision. Lazy rolling waves licked his drawing from the sand. It was time to cry. Rushed to the house. And in the next minute, a sailboat was sailing along the wall of the white house. Drawn in charcoal! Mother gasped. The father frowned, but did not punish his son.

Little Hovhannes showed exceptional abilities for drawing and music, he played the violin well. He enthusiastically copied engravings from a book about the struggle of the Greeks against Ottoman rule. In his declining years, he wrote: “The first pictures I saw, when a spark of fiery love for painting flared up in me, were lithographs depicting the exploits of heroes in the late twenties, fighting the Turks for the liberation of Greece. Subsequently, I learned that sympathy for the Greeks, overthrowing the Turkish yoke, was then expressed by all the poets of Europe: Byron, Pushkin, Hugo, Lamartine ... The thought of this great country often visited me in the form of battles on land and at sea ”

Aivazovsky received his primary education in the Armenian parish school, and then graduated from the Simferopol gymnasium, in which the city architect Koch helped him to appoint. In 1833, with the assistance of the Feodosia mayor A. Kaznacheev, Aivazovsky went to St. Petersburg, and according to 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 he was awarded a silver medal of the second denomination for "Study of Air over the Sea". In 1837, for three marine views and especially for the painting “Calm”, he was awarded the First Gold Medal and the academic course was reduced by two years, with the condition that during this time he painted landscapes of a number of Crimean cities. As a result of a trip to the Crimea, views of Yalta, Feodosia, Sevastopol, Kerch and the paintings “Moonlight Night in Gurzuf” (1839), “Storm”, “Seashore” (1840) appeared.

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 canvas - "Landing at Subashi". There he also met the decommissioned Decembrists M. M. Naryshkin, A. I. Odoevsky, N. N. Lorer, who took part in the case under Subashi. Aivazovsky's contribution to battle painting is significant. He captured episodes of the Sevastopol defense, repeatedly referred to the heroic deeds of the Russian navy: “Each victory of our troops on land or at sea,” the artist wrote, “pleases me, as a Russian at heart, and gives an idea how the artist can depict it on canvas…”.

The Crimean works of the artist were successfully exhibited at the exhibition at the Academy of Arts, and as an encouragement, I.K. Aivazovsky was given a business trip to Italy. In 1840, Aivazovsky went to Italy. There he met with the bright figures of Russian literature, art, science - Gogol, Alexander Ivanov, Botkin, Panaev. At the same time, in 1841, the artist changed the name Gaivazovsky to Aivazovsky.

The artist's activity in Rome begins with the study and copying of the works of the masters of the past, he works a lot on natural studies. 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 the sea in this country was imprinted in his memory as a model of beauty. Aivazovsky created about fifty large paintings in Italy. The success of the artist brought romantic seascapes "Storm", "Chaos", "Naples Bay 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 ability to depict the sea, the engraver F. Jordan claims that Aivazovsky is the discoverer of the genre of marine painting in Rome.

In 1843, the artist's journey begins with an exhibition of paintings across Europe. “Rome, Naples, Venice, Paris, London, Amsterdam honored me with the most flattering encouragement,” Aivazovsky recalled. 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 an international exhibition organized at the Louvre. Ten years later he

the first of the foreign artists became a Chevalier of the Order of the Legion of Honor. In 1844, two years ahead of schedule, Aivazovsky returned to Russia. Upon his return to his homeland, the St. Petersburg Academy of Arts honors him with the title of academician. The Naval Department awarded him the honorary title of artist of the Main Naval Staff with the right to wear the Admiralty uniform and instructed the “extensive and complex order” to paint all Russian military ports on the Baltic Sea. During the winter months of 1844 - 1845. Aivazovsky fulfilled a government order and created a number of beautiful marinas.

In 1845, together with the expedition of F.P. Litke, Aivazovsky visited the coast 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. “This feeling or habit is my second nature. I willingly spend the winter in St. Petersburg, - the artist wrote, - but it will blow a little in the spring, I am attacked by homesickness - I am drawn to the Crimea, to the Black Sea.

In Feodosia, the artist built a studio house on the seashore and finally settled here. In winter, he usually visited St. Petersburg and other cities of Russia with his exhibitions, sometimes he 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 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 wildlife can be an excellent copyist, a living photographic apparatus, but never a true artist. The movements of the living elements are elusive for the brush: writing lightning, a gust of wind, a splash of a wave is unthinkable from nature. The plot of the picture is formed in my memory, like the plot of a poem in a poet ... ".

Aivazovsky was the last and most prominent representative of the romantic trend in Russian painting. His best romantic works of the second half of the 40s - 50s are: “Storm on the Black Sea” (1845), “Georgievsky Monastery” (1846), “Entrance to the Sevastopol Bay” (1851).

Aivazovsky's work is a kind of marine encyclopedia. From it you can learn in detail about any state in which the water element is - calm, slight excitement, storm, storm, giving the impression of a universal catastrophe. In his works one can see the sea at any time of the day - from radiant sunrises to moonlit nights; and at any time of the year count dozens of shades that color the sea waves - from transparent, almost colorless through all conceivable nuances of blue, blue, azure to deep blackness. Aivazovsky perfectly knew how to convey the peal of the waves on the sandy shore, so that the coastal sand could be seen, translucent through the foamy water. He knew many techniques for depicting waves breaking on coastal rocks. But Aivazovsky considered it impossible to reproduce the sea as it is, and therefore he never painted from nature, relying only on imagination.

The sky has always occupied a large place in the composition of Aivazovsky's paintings. The ocean of air - the movement of air, the variety of outlines of clouds and clouds, their formidable rapid run during a storm or the softness of radiance in the pre-sunset hour of a summer evening, sometimes in themselves created the emotional content of his paintings.

In the work of Aivazovsky, 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 depicted them with inspiration in his works (“Chumatsky Convoy” (1868), “Ukrainian Landscape” (1868), at the same time coming close to the landscape of the masters of Russian ideological realism. Aivazovsky’s proximity to Ukraine played a role in this attachment to Ukraine to Gogol, Shevchenko, Sternberg.

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

In 1867, Aivazovsky creates a large cycle of paintings associated with the uprising of the inhabitants of the island of Crete against the Turkish yoke.

In 1868 Aivazovsky undertook a journey to the Caucasus. He painted the foothills of the Caucasus with a chain of snowy mountains on the horizon, panoramas of mountain ranges stretching into the distance like petrified waves, the Darial Gorge and the village of Gunib, lost among the rocky mountains. In Armenia, he painted Lake Sevan and the Ararat Valley. He created several beautiful paintings depicting the Caucasus Mountains from the eastern coast of the Black Sea. Among the dozens of paintings on the Armenian theme, the portraits of the artist’s grandmother and his older brother Gabriel, Catholicos Khrimyan, the mayor of Novo-Nakhichevan A. Khalibyan, especially attract attention with their mastery and psychologism. Aivazovsky created a number of paintings on biblical and historical subjects, including “The Baptism of the Armenian People” and “The Oath. Commander Vardan. Among these works is the large canvas “Noah's Descent from Ararat”, where the refined harmony of light tones conveys the freshness of the air permeated with morning light and the grandeur of the biblical land.

In 1869, Aivazovsky went to Egypt to participate in the opening ceremony of the Suez Canal. As a result of this trip, a panorama of the canal was painted and a number of paintings were created reflecting the nature, life and life of Egypt, with its pyramids, sphinxes, camel caravans. Light as an idea plays a significant role in Aivazovsky's work. Depicting the sea, clouds and air space, the artist actually depicts light. Light in his art is a symbol of life, hope and faith, a symbol of eternity.

In the work of Aivazovsky in the seventies, one can trace the appearance of a number of paintings depicting the open sea at noon, painted in blue colors. The combination of cold blue, green, gray tones gives the feeling of a fresh breeze lifting the swell on the sea. The beauty of these paintings lies in the crystalline clarity, the sparkling radiance they radiate. This cycle is usually called “blue Aivazovsky”.

Aivazovsky was close to many Wanderers. His brilliant skill was highly appreciated by Kramskoy, Repin, Stasov and Tretyakov. Aivazovsky began to arrange exhibitions of his paintings in St. Petersburg, Moscow, and in many other large cities of Russia long before the organization of traveling exhibitions. In 1879, Ivan Konstantinovich visits Genoa, where he collects materials on the discovery of America by Columbus. In 1880, Aivazovsky opened the first peripheral art gallery in Russia in Feodosia.

In 1881, Aivazovsky created the painting "Black Sea". The sea is depicted on an overcast day; waves, arising at the horizon, move towards the viewer, creating by their alternation a majestic rhythm and sublime structure of the picture. It is written in a restrained colorful range that enhances its emotional impact. Aivazovsky knew how to see and feel the beauty of the sea element close to him, not only in external pictorial effects, but also in the barely perceptible strict rhythm of her breathing.

In the last decade, he has been painting a number of huge paintings depicting a stormy sea: “Collapse of a Rock” (1883), “Wave” (1889), “Storm on the Sea of Azov” (1895), “From Calm to Hurricane” (1895) and others. Simultaneously with these paintings, Aivazovsky painted a number of works close to them in concept, but distinguished by a new colorful range, extremely sparing in color, almost monochrome. They depict a stormy surf on a windy winter day: a wave breaks on a sandy shore, seething masses of water covered with foam quickly run into the sea, taking with them shreds of mud, sand and pebbles. Another wave rises towards them, which is the center of the composition of the picture. To enhance the impression of a growing movement, Aivazovsky takes a very low horizon, which is almost touched by the crest of a large impending wave. A heavy leaden sky hung over the sea in thunderclouds. The generality of the content of the paintings of this cycle is obvious. All of them are variants of the same story, differing only in details. This significant cycle of paintings is united not only by a common plot, but also by a color system, a characteristic combination of a lead-gray sky with an olive-ocher color.

water, slightly touched at the horizon by greenish-blue glazing. At the end of his life, Aivazovsky was absorbed in the idea of creating a synthetic image of the sea element.

As Aivazovsky's creative experience and skill accumulated, a noticeable shift took place in the process of the artist's work, which affected his preparatory drawings. Now he creates a sketch of the future work from his imagination, and not from a natural drawing, as he did in the early period of creativity. Aivazovsky was not always immediately satisfied with the solution found in the sketch, for example, there are three versions of the sketch for his last painting “Explosion of the Ship”. Aivazovsky spoke about the method of his work: “Having sketched a plan of the picture I conceived with a pencil on a piece of paper, I set to work and, so to speak, give myself to it with all my heart.”

For graphic works, Aivazovsky used a variety of materials and techniques. The sixties include a number of finely painted watercolors, made in one color - sepia. In 1860, Aivazovsky painted the beautiful sepia Sea after the Storm. Aivazovsky sent this watercolor as a gift to P. M. Tretyakov. Aivazovsky widely used coated paper. The drawing “The Tempest” (1855) was made on paper, tinted in the upper part with warm pink, and in the lower part with steel gray. With various methods of scratching the tinted chalk layer, Aivazovsky well conveyed the foam on the crests of the wave and the glare on the water.

At the very end of his life, having organized his last exhibition in St. Petersburg, the artist decided to go to Italy: “My beginning was illuminated by this country, and now I want to meet my youth again.” Aivazovsky's dream was not destined to come true.

Aivazovsky survived two generations of artists, and his art covers a huge period of time - sixty years of creativity. Until the last days of his life, Aivazovsky was full of new ideas. During his creative life, the artist created six thousand paintings. His merits in art were noted all over the world.

Aivazovsky died on April 19 (May 2), 1900. According to the will of Aivazovsky, he was buried in Feodosia. The gravestone inscription - carved in ancient Armenian words of the historian of the 5th century Movses Khorenatsi - reads: "He was born a mortal, he left an immortal memory behind him."

View presentation content
"Aivazovsky"

The main stages of the life and work of I. Aivazovsky

Creative workshop of the marine painter

presentations

How to draw water

Children's drawings

Poems about the sea

Only the sea can be more beautiful than the mountains, What kind of dream flight is there among the rocks? You soar like a free bird in the open, The soul rejoices, cries and sings! Passion for the sea is a state of mind Once, since you saw ... you will get sick forever. The fire is not extinguished by a gust of wind, Now you are a happy person! When it storms, then the organ sounds, The soul takes off with a windy gust. Up to heaven, where is the fifth ocean, Meets her in his arms! More beautiful than the sea, only the sea itself, Everything here, like birds, is both beautiful and free. You rejoice, looking at the open spaces with your soul, Forever remembering the taste of the sea wave!

Above the sea

Only the smell of thyme, dry and bitter, Breathed on me - and this sleepy Crimea, And this cypress, and this house, pressed To the surface of the mountain, merged forever with it. Here the sea is the conductor, and the resonator is the distance, The concert of high waves here is clear in advance. Here the sound, touching the rock, slides along the vertical, And the echo dances and sings among the stones. The acoustics at the top set up traps, Bringing the distant murmur of jets closer to the ears. And the roar of storms became here like the thunder of cannons, And, like a flower, a girl's kiss blossomed. A cluster of tits here whistles at dawn, Heavy grapes are transparent here and scarlet. Here time is not in a hurry, here the children gather Thyme, the grass of the steppes, from the motionless rocks. Nikolay Zabolotsky

Magic

Quiet evening. Not a single bird is circling

The sea surface is a blurry sapphire.

From heaven to a peaceful world

Azure light shines.

The dunes stretched out in a bluish haze.

And argues with the common blueness

Only a white sail, merged with the wave,

It rises like a young crescent.

So our happiness is perfect

that a lump suddenly rolls up in the throat

And the sea cries sadly

What is salty, what is unchanged.

Fate has taken my heart

and put you in my chest.

You can't reject me

I can't reject you,

we can't breathe without each other!

You and me, me and you - it's you and me, -

these links will not open!

Sea and sky bound by fate

sky and sea are.

Juan Ramon Jimenez