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En este nombre eslavo oriental , el patronímico es Konstantinovich y el apellido es Aivazovsky .
Ivan Aivazovsky
Aivazovsky - Self-portrait 1874.jpg
Autorretrato, 1874, óleo sobre lienzo, 70,5 × 62,5 cm, Uffizi , Florencia [1]
NacióHovhannes Aivazian
29 de julio [ OS 17 de julio] 1817
Feodosia , Taurida ( Crimea ), Imperio Ruso
Fallecido2 de mayo [ OS 19 de abril] 1900 (82 años)
Feodosia, Imperio Ruso
Lugar de descansoIglesia armenia de San Sargis, Feodosia
EducaciónAcademia Imperial de las Artes (1839)
Conocido porPintura , dibujo
MovimientoRomanticismo tardío [2]
Esposos)Julia Graves (1848-1877)
Anna Burnazian (1882-1900)
PremiosBig Gold Medal of the Imperial Academy of Arts (1837)
vea abajo
Firma de Aivazovsky, 1850
Firma de Aivazovsky en armenio en pintura al óleo de 1899

Ivan Konstantinovich Aivazovsky ( ruso : Иван Константинович Айвазовский ; armenio : Հովհաննես Այվազյան ; 29 de julio de 1817 - 2 de mayo de 1900) fue un pintor romántico ruso considerado uno de los más grandes maestros del arte marino . Bautizado como Hovhannes Aivazian , nació en una familia armenia en el puerto de Feodosia en Crimea, en el Mar Negro, y se basó principalmente allí.

Después de su educación en la Academia Imperial de las Artes de San Petersburgo , Aivazovsky viajó a Europa y vivió brevemente en Italia a principios de la década de 1840. Luego regresó a Rusia y fue nombrado pintor principal de la Armada rusa . Aivazovsky tenía estrechos vínculos con la élite militar y política del Imperio ruso y, a menudo, asistía a maniobras militares. Fue patrocinado por el estado y fue bien considerado durante su vida. El dicho "digno del pincel de Aivazovsky", popularizado por Anton Chéjov , se usó en Rusia para describir algo hermoso. Sigue siendo muy popular en Rusia en el siglo XXI. [3]

Uno de los artistas rusos más destacados de su tiempo, Aivazovsky también fue popular fuera del Imperio Ruso. Realizó numerosas exposiciones individuales en Europa y Estados Unidos. Durante sus casi 60 años de carrera, creó alrededor de 6.000 pinturas, lo que lo convirtió en uno de los artistas más prolíficos de su tiempo. [4] [5] La gran mayoría de sus obras son paisajes marinos , pero a menudo representa escenas de batalla, temas armenios y retratos. La mayoría de las obras de Aivazovsky se conservan en museos rusos, ucranianos y armenios, así como en colecciones privadas.

Vida [ editar ]

Un autorretrato, décadas de 1830 a 1840 [6]

Antecedentes [ editar ]

Ivan Aivazovsky nació el 17 de julio (29 en New Style ) 1817 en la ciudad de Feodosia (Theodosia), Crimea , Imperio Ruso. [7] En los registros bautismales de la iglesia apostólica armenia local de St. Sargis , Aivazovsky figuraba como Hovhannes, hijo de Gevorg Aivazian (en armenio : Գէորգ Այվազեանի որդի Յօհաննեսն ). [8] Durante sus estudios en la Academia Imperial de las Artes , fue conocido en ruso como Ivan Gaivazovsky (Иванъ Гайвазовскій en la ortografía anterior a 1918). [9] Se hizo conocido como Aivazovsky desde c.  1840 , mientras estaba en Italia.[10] Firmó una carta de 1844 con unaversión italianizada de su nombre: "Giovani Aivazovsky". [11]

Su padre, Konstantin, ( c.  1765 -1840), [12] fue un comerciante armenio de la polaca región de Galicia . Su familia había emigrado a Europa desde Armenia occidental en el siglo XVIII. Después de numerosos conflictos familiares, Konstantin se fue de Galicia a Moldavia , y luego se mudó a Bucovina , antes de establecerse en Feodosia a principios del siglo XIX. [13] Inicialmente fue conocido como Gevorg Aivazian (Haivazian o Haivazi), pero cambió su apellido a Gaivazovsky agregando el polaco " -sky ". La madre de Aivazovsky, Ripsime, era una armenia de Feodosia. La pareja tuvo cinco hijos: tres hijas y dos hijos. [13]El hermano mayor de Aivazovsky, Gabriel , fue un destacado historiador y arzobispo apostólico armenio. [14] [15]

Aivazovsky en traje italiano, por Vasily Sternberg , 1842

Educación [ editar ]

El joven Aivazovsky recibió educación parroquial en la iglesia armenia St. Sargis de Feodosia. [16] Jacob Koch, un arquitecto local, le enseñó a dibujar. Aivazovsky se mudó a Simferopol con la familia del gobernador de Taurida, Alexander Kaznacheyev, en 1830 y asistió al gimnasio ruso de la ciudad . [17] En 1833, Aivazovsky llegó a la capital rusa, San Petersburgo , para estudiar en la Academia Imperial de las Artes en la clase de paisaje de Maxim Vorobiev . En 1835 recibió una medalla de plata y fue nombrado ayudante del pintor francés Philippe Tanneur  [ fr ] . [18]En septiembre de 1836, Aivazovsky conoció al poeta nacional ruso Alexander Pushkin durante la visita de este último a la Academia. [19] [20] En 1837, Aivazovsky se unió a la clase de pintura de batalla de Alexander Sauerweid y participó en los ejercicios de la Flota Báltica en el Golfo de Finlandia . [21] En octubre de 1837, se graduó de la Academia Imperial de las Artes con una medalla de oro, dos años antes de lo previsto. [22] [16] [4] Aivazovsky regresó a Feodosia en 1838 y pasó dos años en su Crimea natal. [13] [21]En 1839, participó en ejercicios militares en las costas de Crimea, donde se reunió con los almirantes rusos Mikhail Lazarev , Pavel Nakhimov y Vladimir Kornilov . [7] [23]

Primera visita a Europa [ editar ]

Retrato de Aivazovsky por Alexey Tyranov , 1841

En 1840, Aivazovsky fue enviado por la Academia Imperial de las Artes a estudiar en Europa. [22] [21] Primero viajó a Venecia vía Berlín y Viena y visitó San Lazzaro degli Armeni , donde se encontraba una importante congregación católica armenia y su hermano Gabriel vivía en ese momento. Aivazovsky estudió manuscritos armenios y se familiarizó con el arte armenio. [24] Conoció al novelista ruso Nikolai Gogol en Venecia. Luego se dirigió a Florencia , Amalfi y Sorrento . En Florencia, conoció al pintor Alexander Ivanov .[21] Permaneció en Nápoles y Roma entre 1840 y 1842. Aivazovsky estuvo fuertemente influenciado por el arte italiano y sus museos se convirtieron en la "segunda academia" para él. [24] Según Rogachevsky, la noticia de exposiciones exitosas en Italia llegó a Rusia. [4] El Papa Gregorio XVI le otorgó una medalla de oro. [25] Luego visitó Suiza, Alemania, los Países Bajos y Gran Bretaña. En una exposición internacional en el Louvre , fue el único representante de Rusia. [24] En Francia, recibió una medalla de oro de la Académie royale de peinture et de sculpture. Luego regresó a Nápoles vía Marsella y nuevamente visitó Gran Bretaña, Portugal, España y Malta en 1843. Aivazovsky fue admirado en toda Europa. [23] Regresó a Rusia a través de París y Amsterdam en 1844. [23]

Regreso a Rusia y primer matrimonio [ editar ]

Fotografía de Aivazovsky con su primera esposa, Julia, y sus cuatro hijas.

A su regreso a Rusia, Aivazovsky se convirtió en académico de la Academia Imperial de las Artes y fue nombrado "artista oficial de la Armada rusa para pintar paisajes marinos, escenas costeras y batallas navales". [18] [21] En 1845, Aivazovsky viajó al mar Egeo con el duque Konstantin Nikolayevich y visitó la capital otomana, Constantinopla , y las islas griegas de Patmos y Rodas . [21]

En 1845, Aivazovsky se instaló en su ciudad natal de Feodosia, donde construyó una casa y un estudio. [7] [21] Se aisló del mundo exterior, manteniendo un pequeño círculo de amigos y familiares. [24] Sin embargo, la soledad jugó un papel negativo en su carrera artística. A mediados del siglo XIX, el arte ruso se estaba moviendo del romanticismo hacia un estilo ruso distinto de realismo , mientras que Aivazovsky continuaba pintando paisajes marinos románticos y atraía fuertes críticas. [24]

En 1845 y 1846, Aivazovsky asistió a las maniobras de la Flota del Mar Negro y la Flota del Báltico en Petergof , cerca del palacio imperial . En 1847, la Academia Imperial de Artes le otorgó el título de profesor de pintura de paisajes marinos y lo elevó al rango de nobleza. Ese mismo año, fue elegido miembro de la Real Academia de Artes y Ciencias de los Países Bajos . [21]

En 1848, Aivazovsky se casó con Julia Graves, una institutriz inglesa. Tuvieron cuatro hijas: Elena (1849), María (1851), Alexandra (1852) y Joanne (1858). Se separaron en 1860 y se divorciaron en 1877 con permiso de la Iglesia Armenia , ya que Graves era luterana . [21] [26]

Asciende a la prominencia [ editar ]

La gran mayoría de sus obras representan el mar. En la foto aparece una pintura de 1898 titulada Among the Waves , Aivazovsky National Art Gallery, Feodosia

En 1851, viajando con el emperador ruso Nicolás I , Aivazovsky navegó a Sebastopol para participar en maniobras militares. Sus excavaciones arqueológicas cerca de Feodosia lo llevaron a su elección como miembro de pleno derecho de la Sociedad Geográfica Rusa en 1853. En ese año, estalló la Guerra de Crimea entre Rusia y el Imperio Otomano, y fue evacuado a Járkov . Mientras estaba a salvo, regresó a la fortaleza sitiada de Sebastopol para pintar escenas de batalla. [25] Su trabajo se exhibió en Sebastopol mientras estaba bajo el asedio otomano. [25]

Entre 1856 y 1857, Aivazovsky trabajó en París y se convirtió en el primer artista ruso [27] (y el primer no francés) en recibir la Legión de Honor . En 1857, Aivazovsky visitó Constantinopla y fue galardonado con la Orden de los Medjidie . Ese mismo año, fue elegido miembro honorario de la Sociedad de Arte de Moscú. Fue galardonado con la Orden griega del Redentor en 1859 y la Orden rusa de San Vladimir en 1865. [25]

Aivazovsky abrió un estudio de arte en Feodosia en 1865 y la Academia Imperial de las Artes le otorgó un salario el mismo año. [21]

Una fotografía de Aivazovsky, 1870

Viajes y reconocimientos: décadas de 1860 a 1880 [ editar ]

En la década de 1860, el artista produjo varias pinturas inspiradas en el nacionalismo griego y la unificación italiana . [7] [25] En 1868, una vez más visitó Constantinopla y produjo una serie de obras sobre la resistencia griega a los turcos durante la Gran Revolución de Creta . [21] En 1868, Aivazovsky viajó por el Cáucaso y visitó la parte rusa de Armenia por primera vez. Pintó varios paisajes montañosos y en 1869 realizó una exposición en Tiflis . [7] Más adelante en el año, hizo un viaje a Egipto y participó en la ceremonia de apertura del Canal de Suez.. Se convirtió en el "primer artista en pintar el Canal de Suez, marcando así un acontecimiento histórico en la historia de Europa, África y Asia". [25] [28]

En 1870, Aivazovsky fue nombrado Consejero Civil Actual , el cuarto rango civil más alto en Rusia. [21] En 1871, inició la construcción del museo arqueológico en Feodosia. [25] En 1872, viajó a Niza y Florencia para exhibir sus pinturas. [25] En 1874, la Accademia di Belle Arti di Firenze (Academia de Bellas Artes de Florencia) le pidió que colgara un autorretrato en la Galería de los Uffizi . [29] [30] El mismo año, Aivazovsky fue invitado a Constantinopla por el sultán Abdülaziz, quien posteriormente le otorgó la Orden turca de Osmanieh . [21]En 1876, fue nombrado miembro de la Academia de Artes de Florencia y se convirtió en el segundo artista ruso (después de Orest Kiprensky ) en pintar un autorretrato para el Palazzo Pitti . [24] [25]

Aivazovsky fue elegido miembro honorario de la Real Academia de Bellas Artes de Stuttgart en 1878. Hizo un viaje a los Países Bajos y Francia, permaneciendo brevemente en Frankfurt hasta 1879. Luego visitó Munich y viajó a Génova y Venecia "para recopilar material sobre el descubrimiento. de América por Cristóbal Colón ". [25]

En 1880, Aivazovsky abrió una galería de arte en su casa de Feodosia; se convirtió en el tercer museo del Imperio Ruso, después del Museo del Hermitage y la Galería Tretyakov . [24] [25] Aivazovsky realizó una exposición de 1881 en el Pall Mall de Londres , a la que asistieron el pintor inglés John Everett Millais y Eduardo VII , Príncipe de Gales . [21]

Segundo matrimonio y vida posterior [ editar ]

La pintura de Aivazovsky de su segunda esposa Anna Burnazian (1882)

La segunda esposa de Aivazovsky, Anna Burnazian, era una joven viuda armenia 40 años menor que él. [31] Aivazovsky dijo que al casarse con ella en 1882, "se acercó más a [su] nación", refiriéndose al pueblo armenio. [26] En 1882, Aivazovsky visitó Moscú y San Petersburgo y luego recorrió el campo de Rusia viajando a lo largo del río Volga en 1884. [21] [25]

En 1885, fue ascendido al rango de Consejero Privado . El año siguiente, el 50 aniversario de su labor creativa, se celebró con una exposición en San Petersburgo y una membresía honoraria en la Academia Imperial de Bellas Artes. [18] [25]

En 1887, como parte de la celebración del jubileo de su carrera, Aivazovsky organizó una cena para 150 amigos. Cada invitado recibió una pintura en miniatura de Aivazovsky colocada en una fotografía de estudio del artista en el trabajo. [32]

Después de conocer a Aivazovsky en persona, Anton Chejov escribió una carta a su esposa el 22 de julio de 1888 describiéndolo de la siguiente manera: [33] [34]

El propio Aivazovsky es un anciano sano y vigoroso de unos setenta y cinco años, que parece un armenio insignificante y un obispo; está lleno de un sentido de su propia importancia, tiene manos suaves y te da la mano como un general. No es muy brillante, pero tiene una personalidad compleja, digna de un estudio más a fondo. Solo en él se combinan un general, un obispo, un artista, un armenio, un viejo campesino ingenuo y un Otelo.

La casa de Feodosia, donde vivió Aivazovsky entre 1845 y 1892. Ahora es una galería de arte .

Después de viajar a París con su esposa, en 1892 hizo un viaje a los Estados Unidos, visitando las Cataratas del Niágara en Nueva York y Washington DC [25] En 1896, a los 79 años, Aivazovsky fue ascendido al rango de consejero privado completo. [21]

Aivazovsky se vio profundamente afectado por las masacres de Hamidian que tuvieron lugar en las áreas habitadas por armenios del Imperio Otomano entre 1894 y 1896. Pintó una serie de obras sobre el tema, como La expulsión del barco turco y Las masacres de los armenios en Trebisonda. (1895). Arrojó las medallas que le había dado el sultán otomano al mar y le dijo al cónsul turco en Feodosia: "Dile a tu maestro sediento de sangre que he tirado todas las medallas que me dieron, aquí están sus cintas, envíaselas y si quiere, puede arrojarlos a los mares pintados por mí ". [35] Creó varias otras pinturas que capturan los eventos, como Lonely Ship y Night. Tragedia en el Mar de Mármara(1897). [36] [37]

Tumba de Aivazovsky

Pasó sus últimos años en Feodosia. En la década de 1890, gracias a sus esfuerzos, se estableció un puerto comercial ( ru ) en Feodosia y se conectó a la red ferroviaria del Imperio ruso. [31] [38] La estación de tren, inaugurada en 1892, ahora se llama Ayvazovskaya  [ ru ] y es una de las dos estaciones dentro de la ciudad de Feodosia. Aivazovsky también suministró a Feodosia agua potable. [39] [40]

Muerte [ editar ]

Aivazovsky murió el 19 de abril (2 de mayo en New Style) 1900 en Feodosia. [25] De acuerdo con sus deseos, fue enterrado en el patio de la iglesia armenia de St. Sargis. [41] El escultor italiano L. Biogiolli hizo un sarcófago de mármol blanco en 1901. [42] En su lápida está grabada una cita de la Historia de Armenia en armenio clásico de Movses Khorenatsi : Mahkanatsu tsneal anmah ziurn yishatak yetogh ( Մահկանացու ծնեալ անմահ զիւրն յիշատակ եթող ), [43] que se traduce: "Nació mortal, dejó un legado inmortal" [41]o "Nacido como mortal, dejó el recuerdo inmortal de sí mismo". [44] La inscripción rusa debajo dice: "Profesor Ivan Konstantinovich Aivazovsky 1817-1900" ( Профессоръ Иванъ Константиновичъ АЙВАЗОВСКIЙ 1817-1900 ).

Después de su muerte, su esposa Anna llevó una vida generalmente aislada, viviendo en varias habitaciones que había conservado después de la nacionalización, hasta 1941. [45] Murió el 25 de julio de 1944 y fue enterrada junto a Aivazovsky. [31] Dos de sus hijas (María y Alexandra) abandonaron Rusia tras la Revolución de 1917, mientras que las otras dos murieron poco después: Yelena en 1918 y Zhanna en 1922. [45]

Arte [ editar ]

La Novena Ola (1850, Museo Ruso , San Petersburgo ) es considerada la obra más famosa de Aivazovsky. [46] [47] [48]

Durante su carrera de 60 años, Aivazovsky produjo alrededor de 6.000 pinturas [18] [25] [49] de lo que una revista de arte en línea describe, "valor muy diferente ... hay obras maestras y hay obras muy tímidas". [50] Sin embargo, según un recuento, se le atribuyen hasta 20.000 pinturas. [51] La gran mayoría de las obras de Aivazovsky representan el mar. [52] Rara vez dibujó paisajes secos y creó solo un puñado de retratos. [50] Según Rosa Newmarch Aivazovsky "nunca pintó sus cuadros de la naturaleza, siempre de memoria y lejos del litoral". [53]Rogachevsky escribió que "Su memoria artística era legendaria. Fue capaz de reproducir lo que había visto solo por un tiempo muy corto, sin siquiera hacer bocetos preliminares". [25] Bolton elogió "su capacidad para transmitir el efecto del agua en movimiento y del sol y la luna reflejados". [22]

Exposiciones [ editar ]

Realizó 55 exposiciones individuales (un número sin precedentes) [54] a lo largo de su carrera. Entre los más notables se llevaron a cabo en Roma, Nápoles y Venecia (1841-1842), París (1843, 1890), Amsterdam (1844), Moscú (1848, 1851, 1886), Sebastopol (1854), Tiflis (1868), Florencia. (1874), San Petersburgo (1875, 1877, 1886, 1891), Frankfurt (1879), Stuttgart (1879), Londres (1881), Berlín (1885, 1890), Varsovia (1885), Constantinopla (1888), Nueva York (1893), Chicago (1893), San Francisco (1893). [21]

También "contribuyó a las exposiciones de la Academia Imperial de las Artes (1836-1900), el Salón de París (1843, 1879), la Sociedad de Exposiciones de Obras de Arte (1876-1883), la Sociedad de Amantes de las Artes de Moscú (1880) , Exposiciones Pan-Rusas en Moscú (1882) y Nizhny Novgorod (1896), Exposiciones Mundiales en París ( 1855 , 1867 , 1878 ), Londres (1863) , Múnich (1879) y Chicago (1893) y las exposiciones internacionales en Filadelfia ( 1876) , Munich (1879) y Berlín (1896) ". [21]

Mar tempestuoso en la noche , 1849, Palacio Pavlovsk , San Petersburgo

Estilo [ editar ]

Pintor principalmente romántico, Aivazovsky utilizó algunos elementos realistas. [55] Leek argumentó que Aivazovsky permaneció fiel al romanticismo durante toda su vida, "aunque orientó su trabajo hacia el género realista". [4] Sus primeros trabajos están influenciados por sus profesores de la Academia de Artes Maxim Vorobiev y Sylvester Shchedrin . [18] Pintores clásicos como Salvator Rosa , Jacob Isaacksz van Ruisdael y Claude Lorrain contribuyeron al proceso y estilo individual de Aivazovsky. [7] Karl Bryullov , mejor conocido por su El último día de Pompeya, "jugó un papel importante en la estimulación del propio desarrollo creativo de Aivazovsky", según Bolton. [22] [18] Las mejores pinturas de Aivazovsky en las décadas de 1840-1850 usaban una variedad de colores y tenían un tema tanto épico como romántico. [7] Newmarch sugirió que a mediados del siglo XIX los rasgos románticos en la obra de Aivazovsky se volvieron "cada vez más pronunciados". [50] Ella, como la mayoría de los estudiosos, consideraba su Novena Ola su mejor obra de arte y argumentó que "parece marcar la transición entre el color fantástico de sus obras anteriores y la visión más veraz de los años posteriores". [56]En la década de 1870, sus pinturas estaban dominadas por colores delicados; y en las dos últimas décadas de su vida, Aivazovsky creó una serie de paisajes marinos en tonos plateados. [7]

La clara transición del arte ruso del romanticismo al realismo a mediados del siglo XIX dejó a Aivazovsky, que siempre conservaría un estilo romántico, abierto a la crítica. Las razones propuestas de su falta de voluntad o incapacidad para cambiar comenzaron con su ubicación; Feodosia era una ciudad remota en el enorme imperio ruso, lejos de Moscú y San Petersburgo. Su mentalidad y cosmovisión se consideraron igualmente anticuadas y no se correspondían con los desarrollos en el arte y la cultura rusos. [24] Vladimir Stasov solo aceptó sus primeros trabajos, mientras que Alexandre Benois escribió en su Historia de la pintura rusa en el siglo XIX que, a pesar de ser alumno de Vorobiev, Aivazovsky se destacó del desarrollo general de la escuela del paisaje rusa.[24]

El trabajo posterior de Aivazovsky contenía escenas dramáticas y generalmente se hacía a mayor escala. Representó "la lucha romántica entre el hombre y los elementos en forma de mar ( El arco iris , 1873), y los llamados" marines azules "( La bahía de Nápoles a primera hora de la mañana , 1897, Desastre , 1898) y paisajes urbanos. ( Noche de luna en el Bósforo , 1894) ". [18]

Obras [ editar ]

Paisajes [ editar ]

  • Gruta Azul, Nápoles (1841)

  • La torre de Gálata a la luz de la luna (1845)

  • Vista de Constantinopla , con la Mezquita Nusretiye (1856)

  • Vista de Tiflis (1869)

  • Moscú en invierno desde las colinas de los gorriones (1872)

Paisajes marinos [ editar ]

  • Noche en Gurzuf

  • Batalla de Navarino (1848)

  • El bergantín Mercury encuentro tras derrotar a dos barcos turcos de la escuadra rusa (1848)

  • Preparando las olas

  • Batalla de Çesme en la noche (1856)

  • Bahía de Nápoles (1842)

  • Envío estadounidense frente al Peñón de Gibraltar (1873)

  • Arco iris (1873)

  • Barco "Doce Apóstoles" (1878)

  • Costa del mar por la noche. Cerca de la baliza (1837)

  • La quema del buque insignia turco por Kanaris (1881)

  • Paisaje marino con vapor (1886)

  • Tempestad de Sunion, (1856)

  • La ira de los mares (1886)

  • Brig "Mercury" atacado por dos barcos turcos (1892)

  • Lago Maggiore al atardecer (1892)

Pinturas religiosas [ editar ]

  • Caos (1841)

  • Jesús caminando sobre el agua (1888)

  • Jesús caminando sobre el agua (1890)

  • Paso de los judíos por el Mar Rojo (1891)

Temas orientalistas [ editar ]

  • bósforo

  • Una noche de luna en el Bósforo

  • Mezquita Top-Kahne (la Mezquita Nusretiye en Tophane , Estambul )

  • Vista de Constantinopole a la luz del atardecer

  • Escenas de la vida de El Cairo

  • Boat Ride by Kumkapı in Constantinople

  • Sunset over the Golden Horn

  • Dusk on the Golden Horn

  • Trebizond

  • Coffee-house by the Ortaköy Mosque in Constantinople

  • The Great Pyramid of Giza

  • Tower

Armenian themes[edit]

Aivazovsky's early works incorporated Armenian themes. The artist's longstanding wish to visit his ancestral homeland was fulfilled in 1868. During his visit to Russian (Eastern) Armenia (roughly corresponding to the modern Armenia, as opposed to Western Armenia under Ottoman rule), Aivazovsky created paintings of Mount Ararat, the Ararat plain, and Lake Sevan. Although Mt. Ararat has been depicted in paintings of many non-native artists (mostly European travelers), Aivazovsky became the first Armenian artist to illustrate the two-peaked biblical mountain.[57][24]

He resumed the creation of Armenian-related paintings in the 1880s: Valley of Mount Ararat (1882), Ararat (1887), Descent of Noah from Ararat (1889).[57] The unique Valley of Mount Ararat contains Aivazovksy's signature in Armenian: "Aivazian" (Այվազեան).[57][26] In a panorama of Venice expressed by Byron's Visit to the Mekhitarists on St Lazarus Island in Venice (1898); the foreground of the picture contains members of the Armenian Congregation giving an enthusiastic welcome to the poet.[58]

His other themed works from this period include rare portraits of notable Armenians, such as his brother Archbishop Gabriel Aivazovsky (1882), Count Mikhail Loris-Melikov (1888), Catholicos Mkrtich Khrimian (1895), Nakhichevan-on-Don Mayor Аrutyun Khalabyan and others.[57][24]

The Baptism of Armenians and Oath Before the Battle of Avarayr (both 1892) depict the two single most memorable events of ancient Armenia: the Christianization of Armenia via baptism of King Tiridates III (early 4th century), and the Battle of Avarayr of 451.[24]

  • Valley of Mount Ararat (1882)

  • The Baptism of the Armenian People (1892)

  • Descent of Noah from Ararat (1889), National Gallery of Armenia[59]

  • Oath Before the Battle of Avarayr (1892)

  • Lord Byron's visit to San Lazzaro degli Armeni (1899)[60]

  • Mkrtich Khrimian near Echmiadzin

Aivazovsky and archaeology[edit]

The Museum of Antiquities founded by Aivazovsky in Feodosia

Aivazovsky took an interest in archaeology since the 1850s. He employed farmers to conduct archaeological excavations in the Feodosia area. In 1853 some 22 burial mounds were excavated on Mount Tepe-Oba, which mostly contained broken amphorae and bones, but also golden necklaces, earrings, a female head, a chain with a sphinx, a sphinx with woman's head, the head of an ox, slabs; silver bracelets; clay statuettes, medallions, various vessels, a sarcophagus; silver and bronze coins. The site has been dated to the 5th to 3rd centuries BC when there was an ancient Greek settlement of Theodosia. The best finds were sent by Aivazovsky to the Imperial Hermitage in Petersburg.[61] In 1871 he founded the construction of a new Museum of Antiquities on Mount Mithridat modeled after a typical Ancient Greek temple of the Doric order. It was destroyed during World War II.[61]

Aivazovsky's estates[edit]

Aivazovsky's Shakh-Mamai estate in the 1890s

Aivazovsky was a major landowner who owned numerous estates in the eastern part of Crimea, mostly located not far from Feodosia. These estates delivered him significant income; more than the sale of his paintings. His earliest major estate, bestowed by the Emperor in 1848 along with a personal noble title, was the one at Shakh-Mamai (now called Ayvazovskoye [ru]). Located some 25 kilometres (16 mi) from Feodosia, it initially covered an area of 2,500 diasiatins (around 2,725 hectares (6,730 acres)). The estate had an Eastern-style house, and one of its most prominent visitors, Anton Chekhov, wrote that "It is an extravagant, fairy-tale estate of the kind you must probably find in Persia." By the end of his life, the estate had grown to include some 6,000 diasiatins of land, a dairy farm, and a steam-powered mill.[45]

The second major estate, located in Subash (now Zolotoy Klyuch), contained some 2,500 diasiatins of land. The site contained several natural springs, which Aivazovsky acquired in 1852 from the Lansky family. The latter also sold Aivazovsky 2,362 diasiatins of land. Later, Aivazovsky supplied Feodosia with water from Subash. In both estates, vegetables were grown. He had small estates in Romash-Eli (now Romanovka), with 338 diasiatins of land covered with orchards, and the Sudak Valley, with 12 diasiatins of vineyard, along with a dacha (summer house).[45]

In Feodosia, Aivazovsky possessed a house and a vineyard. He also owned houses elsewhere in Crimea, such as Stary Krym and Yalta. The estates inherited by his heirs were lost in the early Soviet period when they were nationalized.[45]

Influence[edit]

Aivazovsky was the most influential seascape painter in nineteenth-century Russian art.[18] According to the Russian Museum, "he was the first and for a long time the only representative of seascape painting" and "all other artists who painted seascapes were either his own students or influenced by him."[54]

Arkhip Kuindzhi (1841/2–1910) is cited by Krugosvet encyclopedia as having been influenced by Aivazovsky.[62] In 1855, at age 13–14, Kuindzhi visited Feodosia to study with Aivazovsky, however, he was engaged merely to mix paints[63] and instead studied with Adolf Fessler, Aivazovsky's student.[64] A 1903 encyclopedic article stated: "Although Kuindzhi cannot be called a student of Aivazovsky, the latter had without doubt some influence on him in the first period of his activity; from whom he borrowed much in the manner of painting."[65] English art historian John E. Bowlt wrote that "the elemental sense of light and form associated with Aivazovsky's sunsets, storms, and surging oceans permanently influenced the young Kuindzhi."[63]

Aivazovsky also influenced Russian painters Lev Lagorio, Mikhail Latri [ru], and Aleksey Ganzen [ru] (the latter two were his grandsons).[27]

Recognition[edit]

Six Aivazovsky paintings displayed at the State Russian Museum in Saint Petersburg
Wave (1889), one of the paintings exhibited

Ivan Aivazovsky is one of the few Russian artists to achieve wide recognition during his lifetime.[18][4][66] Today, he is considered as one of the most prominent marine artists of the 19th century,[41][67][68] and, overall, one of the greatest marine artists in Russia and the world.[29][69][70][71][72] Aivazovsky was also one of the few Russian artists to become famous outside Russia.[73][74][75] In 1898, Munsey's Magazine wrote that Aivazovsky is "better known to the world at large than any other artist of his nationality, with the exception of the sensational Verestchagin".[76] However, according to art historian Janet Whitmore, he is relatively unknown in the west.[38] Art historian Rosalind Polly Blakesley noted in a 2003 book review that Aivazovsky has not been incorporated into the mainstream Western history of art.[77]

In Russia[edit]

In a July 2017 poll conducted by the VTsIOM Aivazovsky ranked first as the most favorite artist with 27% of respondents naming him as their favorite, ahead of Ivan Shishkin (26%) and Ilya Repin (16%). Overall, 93% of respondents said they were familiar with his name (26% knew him well, 67% have heard his name) and 63% of those who know him said they liked his works, including 80% of those 60 or older and 35% of 18 to 24 year olds.[78][3][79]

In 1890, the Brockhaus and Efron Encyclopedic Dictionary described him as the "best Russian marine painter".[80] Ivan Kramskoi, one of the most prominent Russian artists of the nineteenth century, praised him thus: "Aivazovsky is—no matter who says what—a star of first magnitude, and not only in our [country], but also in history of art in general."[6][61] Another Russian painter, Alexandre Benois, suggested that "Aivazovsky stands apart from the general history of the Russian school of landscape painting."[54] The State Russian Museum website continues, "It is hard to find another figure in the history of Russian art enjoying the same popularity among amateur viewers and erudite professionals alike."[54] Writing in 1861 in the magazine Vremya, Fyodor Dostoyevsky compared Aivazovsky's work with that of Alexandre Dumas as both artists "produce a remarkably striking effect: remarkable indeed, as neither man ever produces anything ordinary at all. Ordinary things, they despise. Their compositions are certainly quite fascinating. The books of Dumas were devoured with impatience; the paintings of Aivazovsky have been selling like hot cakes. Both produce works that are not dissimilar to fairy tales: fireworks, clatter, screams, howling winds, lightning."[81]

In nineteenth-century Russia, his name became a synonym for art and beauty. The phrase "worthy of Aivazovsky's brush" was the standard way of describing something ineffably lovely. It was first used by Anton Chekhov in his 1897 play Uncle Vanya.[33] In response to Marina Timofeevna's (the old nurse) query about the fight between Ivan Voynitsky ("Uncle Vanya") and Aleksandr Serebryakov, Ilya Telegin says that it was "A sight[a] worthy of Aivazovsky's brush" (Сюжет, достойный кисти Айвазовского Syuzhet, dostoyniy kisti Ayvazovskovo).[85]

A street in Moscow [ru] was named after Aivazovsky in 1978.[86] His first and only statue in Russia was erected in 2007 in Kronstadt, near Saint Petersburg.[87] The Simferopol International Airport in Crimea, under Russian administration, was voted to be named after Aivazovsky in 2018.[88][89] It was officially renamed according to a decree signed by President Vladimir Putin on May 31, 2019, and ceremonially renamed on Russia Day (June 12).[90][91]

In Armenia[edit]

The statue of Aivazovsky in central Yerevan, Armenia, was erected in 2003.[92][93]

Aivazovsky has always been considered an Armenian painter in his ancestral homeland[24] and virtually always referred to there by his Armenian name, Hovhannes.[94] Virtually all Armenian, some Russian[95] and English[5] sources, refer to him as Hovhannes Ayvazovski (Armenian: Հովհաննես Այվազովսկի; Russian: Ован(н)ес Айвазовский, Ovan(n)es Aivazovsky).[6][96] The artist signed some of his paintings and letters in Armenian.[97] For instance, his signatures in both Armenian (Այվազեան, Ayvazean) and Russian (Айвазовскій, Ayvazovskiy) appear on Valley of Mount Ararat (1882).[10]

Aivazovsky has been described as the "most remarkable" Armenian painter of the 19th century and the first-ever Armenian marine painter.[5][98] He was born outside Armenia proper, and like his contemporaries, including Gevorg Bashinjaghian, Panos Terlemezian, and Vardges Sureniants, Aivazovsky lived outside his homeland, drawing primary influences from European and Russian schools of art. His creativity and viewpoint have been attributed to his uniquely Armenian roots. According to Sureniants, he sought to create a union which would have brought together all Armenian artists around the world.[24] The prominent Armenian poet Hovhannes Tumanyan wrote a short poem titled "In Front of an Aiazovsky painting" («Այվազովսկու նկարի առջև») in 1893. It is inspired by painting of the sea by Aivazovsky, mostly likely from the 1870s–1890s.[99] It was translated into English in 1917 by Alice Stone Blackwell.[100]

Several paintings of Aivazovsky from the National Gallery of Armenia hang in the Presidential Palace in Yerevan.[101]

In Ukraine[edit]

In Ukraine, he is sometimes considered a Ukrainian painter.[102] He was included in a 2001 book titled 100 Greatest Ukrainians.[103] An alley in Kiev (Провулок Айвазовського) was named after him in 1939. A three-star hotel in Odessa, where dozens of reproductions of his works are displayed, is named for him as well.[104] A statue of Aivazovsky and his brother Gabriel is located in Simferopol, Crimea's administrative center.[105] In June 2017 Ukrainian president Petro Poroshenko claimed that Aivazovsky is "part of Ukrainian heritage."[106][107] Russian media accused him of appropriation of Aivazovsky.[108][109]

In Turkey[edit]

Aivazovsky's paintings were popular in the Ottoman imperial court during the 19th century.[110] According to Hürriyet Daily News, as of 2014, 30 paintings of Aivazovsky are on display in museums in Turkey.[111] According to Bülent Özükan [tr], there are 41 paintings of Aivazovsky on display in Turkey, 21 in former palaces of Ottoman sultans, 10 in various marine and military museums, and 10 at the presidential residence.[112] In 2007, when Abdullah Gül became president of Turkey, he brought paintings by Aivazovsky up from the basement to hang in his office during redecoration of the presidential palace, the Çankaya Mansion in Ankara.[113] Pictures of official meetings of Recep Tayyip Erdoğan at the new Presidential Complex in Ankara show that the walls of the rooms at the presidential residence are decorated with Aivazovsky's artwork.[112][114]

Legacy[edit]

Aivazovsky's monument in front of his house (now an art gallery) in Feodosia
Aivazovsky on a 2018 20,000 Armenian Dram banknote

Aivazovsky's house in Feodosia, where he had founded an art museum in 1880, is open to this day as the Aivazovsky National Art Gallery. It remains a central attraction in the city[38] and holds the world's largest collections (417) of Aivazovsky paintings.[31] A statue of the artist stands in front.

Posthumous honors[edit]

The Soviet Union (1950),[115] Romania (1971),[116][117] Madagascar (1988),[118] Armenia (first in 1992),[119] Russia (1995),[120] Ukraine (1999),[121] Abkhazia (1999),[122] Moldova (2010),[123] Kyrgyzstan (2010),[124] Burundi (2012),[125] and Mozambique (2013)[126] have issued postage stamps depicting Aivazovsky or his works.[116] The minor planet 3787 Aivazovskij, named after Aivazovsky, was discovered by Soviet astronomer Nikolai Chernykh in 1977.[127]

In 2016 and 2017 the 200th anniversary of Aivazovsky was celebrated with major exhibitions in several countries. An exhibition featuring 120 paintings and 55 etchings of Aivazovsky was held at the Tretyakov Gallery on Krymsky Val in Moscow from 29 July to 20 November 2016 dedicated to his 200th anniversary of birth.[128][129] In the first 2 weeks, the exhibition had around 55,000 visitors, a record number.[130] 38 of the works were moved from the Aivazovsky Art Gallery in Feodosia, which prompted Ukraine to call for an international boycott of the Tretyakov Gallery as it considers Crimea an occupied territory.[131] Exhibitions were also held at the National Art Museum of Ukraine in Kiev,[132] and the National Gallery of Armenia in Yerevan.[133]

In 2018, the third series of Armenian dram banknotes were issued. The 20,000 Dram banknote bears a portrait of Aivazovsky on the obverse and a view of his art museum and statue in Feodosia in the reverse.

Auctions[edit]

Aivazovsky's paintings began appearing in auctions (mostly in London) in the early 2000s. Many of his works are being bought by Russian oligarchs.[134] His works have risen steadily in auction value.[135] In November 2004, his Saint Isaac's Cathedral On A Frosty Day, a rare cityscape, sold for around £1 million ($2.1 million).[136][137] In 2007, his painting American Shipping off the Rock of Gibraltar auctioned at £2.71 million, "more than four times its top estimate". It was, "the highest price paid at auction for Aivazovsky" at the time.[138] In April 2012, his 1856 work View of Constantinople and the Bosphorus was sold at Sotheby's for a record $5.2 million (£3.2 million),[139] a tenfold increase since it was last at an auction in 1995.[140]

Stolen paintings[edit]

In January 2011 a number of paintings, including those of Aivazovsky, were stolen from the country house of Aleksandr Tarantsev, an owner of a chain of jewelry stores in Russia.[141][142] In 2017 it was reported that a fake of one of the paintings stolen from Tarantsev's house was presented to Armenian president Serzh Sargsyan by the Pyunik foundation.[143][144]

In June 2015 Sotheby's withdrew from auction an 1870 Aivazovsky painting Evening in Cairo, which was estimated at £1.5–2 million ($2–$3 million), after the Russian Interior Ministry claimed that it was stolen in 1997 from a private collection in Moscow.[145][146] These allegations were not maintained before the English court, which ordered the return of the painting to the seller. In 2017 View on Revel (1845), stolen from the Dmitrov Kremlin Museum in 1976, was found at Koller Auktionen [de] in Zürich, Switzerland.[147]

Awards[edit]

CountryAward[21]Year
French EmpireLegion of Honor (Chevalier)1857[38]
 Ottoman EmpireOrder of the Medjidie1858
Kingdom of GreeceOrder of the Redeemer1859
 Russian EmpireOrder of St. Vladimir1865
 Ottoman EmpireOrder of Osmanieh1874
Kingdom of PolandOrder of the White Eagle1893
 Russian EmpireOrder of St. Alexander Nevsky1897

Ranks[edit]

Russian Table of Ranks:[21]

  • 1870 – Actual Civil Councilor (Действительный статский советник)
  • 1885 – Privy Councilor (Тайный советник)
  • 1896 – Actual Privy Councilor (Действительный тайный советник)

See also[edit]

  • Russian culture
  • Armenian culture
  • Armenians in Crimea

References[edit]

Notes

  1. ^ Alternatively translated as "scene",[82] "subject",[83] or "picture".[84]

Citations

  1. ^ Markina, Lyudmila (2017). "The Many Faces of Ivan Aivazovsky". Tretyakov Gallery Magazine. 54 (1). Archived from the original on 30 November 2020.
  2. ^ "Вера Бодунова: Айвазовский — свой среди чужих". Kommersant (in Russian) (137). 30 July 2016. p. 4. Archived from the original on 25 November 2020. Это художник, который считается поздним романтиком.
  3. ^ a b "Poll reveals Russians enjoy Aivazovsky's paintings more than other artists' works". TASS. Archived from the original on 15 January 2021.
  4. ^ a b c d e Leek 2012, p. 178.
  5. ^ a b c Lang, David Marshall (1970). Armenia: Cradle of Civilization (1st ed.). London: Allen & Unwin. p. 245. ISBN 978-0-04-956007-9.
  6. ^ a b c "Иван Айвазовский – великий маринист [Ivan Aivazovsky – great marinist]" (in Russian). Kommersant Papers. 30 November 2013. Archived from the original on 13 July 2018. Retrieved 4 January 2014.
  7. ^ a b c d e f g h Ghazarian 1974, pp. 350–351
  8. ^ Harutiunian 1965, p. 89.
  9. ^ Petrov, Pyotr (1887). Указатель к Сборнику матеріалов для исторіи Императорской С.-Петербургской Академіи художеств за сто лѣт ея существованія [Index to the collection of materials for the history of the Imperial St. Petersburg Academy of Arts for 100 years of its existence] (in Russian). St. Petersburg: M. M. Stasulevich. p. 51.
  10. ^ a b Harutiunian 1965, p. 93.
  11. ^ "AIVAZOVKSY, Ivan (1817–1900). Autograph letter signed ('Giovani Aivazovsky') to Auguste Vecchy, St Petersburg, 28 August 1844, in eccentric Italian". Christie's. Retrieved 18 January 2014.
  12. ^ Mikaelian 1991, p. 69.
  13. ^ a b c Sarkssian 1963, p. 25.
  14. ^ Donenko, Nikolay (2007). Православные монастыри: Симферопольская и Крымская епархия Украинской православной церкви Московского патриархата (in Russian). Sonat. p. 82. О нем писал армянский епископ Гавриил (Айвазовский), брат выдающегося художника- мариниста...
  15. ^ "Armenia's in Venice to Highlight Save Venice 2004". Asbarez. 23 March 2004. The great seascape painter Ivan Aivazovsky (Hovhannes Aivazian)–while visiting his brother Archbishop Gabriel Aivazovsky–immortalized the Island and the Venetian lagoon in numerous magnificent paintings.
  16. ^ a b Mikaelian 1991, p. 59.
  17. ^ Bobkov, V. V. (2010). "Феодосийский Градоначальник Александр Иванович Казначеев: Основные Вехи Административной Деятельности [Feodosia Mayor Alexander Ivanovich Kaznacheyev: Major Milestones In Administrative Activities]" (PDF) (in Russian). Simferopol: Tavrida National V.I. Vernadsky University: 39–40. Archived from the original (PDF) on 3 March 2016. Retrieved 2 February 2014. Cite journal requires |journal= (help)
  18. ^ a b c d e f g h i "Ayvazovskiy (Gayvazovskiy), Ivan (Oganes) Konstantinovich". Tretyakov Gallery. Archived from the original on 6 September 2015.
  19. ^ Briggs, A.D.P., ed. (1999). Alexander Pushkin: a celebration of Russia's best-loved writer. London: Hazar Publishing. p. 219. ISBN 1-874371-14-8.
  20. ^ "Sotheby's Russian Art Evening sale" (PDF). Sotheby's. 9 June 2008. Retrieved 2 February 2014.
  21. ^ a b c d e f g h i j k l m n o p q r s t "Hovhannes Aivazovsky". RusArtNet.com The Premier Site for Russian Culture. Archived from the original on 19 March 2014.
  22. ^ a b c d Bolton 2010, p. 140.
  23. ^ a b c Bolton 2010, p. 141.
  24. ^ a b c d e f g h i j k l m n Khachatrian "The Sea Poet"
  25. ^ a b c d e f g h i j k l m n o p q Rogachevsky, Alexander. "Ivan Aivazovsky (1817–1900)". Tufts University. Archived from the original on 19 March 2014.
  26. ^ a b c Mikaelian 1991, p. 63.
  27. ^ a b Gomtsyan, Natalia (11 September 2015). "Айвазовский и его окружение". Golos Armenii (in Russian).
  28. ^ Shaljyan, Emma (March 2012). "Walter and Laurel Karabian Speak on Artist Aivazian (Aivazovsky)". Hye Sahrzoom, Armenian Studies Program California State University, Fresno. Archived from the original on 3 February 2014. Retrieved 10 January 2014. Aivazovsky, in fact, was the first painter to paint the Suez Canal.
  29. ^ a b "Ivan Aivazovsky, Seascape at Sunset, 1841" (PDF). Rutgers, The State University of New Jersey. Archived from the original (PDF) on 2 February 2014. Retrieved 10 December 2013. Ivan Aivazovsky was the best known Russian painter of seascapes.
  30. ^ Bird, Alan (1987). A history of Russian painting. Boston: G.K. Hall. p. 162. ISBN 978-0-8161-8911-3.
  31. ^ a b c d Obukhovska, Liudmyla (7 August 2012). "To a good genius ... Feodosiia marked the 195th anniversary of Ivan Aivazovsky's birth". Den.
  32. ^ Ivan Constantinovich Aivasovski, The Met Museum
  33. ^ a b Karlinsky, Simon (1999). Anton Chekhov's Life and Thought: Selected Letters and Commentary. Heim, Michael Henry; Karlinsky, Simon (2nd ed.). Evanston, Illinois: Northwestern University Press. pp. 310–311. ISBN 0-8101-1460-7.
  34. ^ Vasyanin, Andrey (10 August 2016). "Айвазовский на ладони". Rossiyskaya Gazeta (in Russian) (178).
  35. ^ Harutiunian 1965, pp. 90–91: "Բռնակալության դեմ ի նշան բողոքի, նա բոլոր շքանշանները նետում է ծովը և ապա երիտասարդի աշխուժությամբ դնում է թուրքական հյուպատոսի մոտ ու զայրացած ասում. «Արյունակզակ տիրոջդ ինձի տված պատվանշանները ծովր նետեցի, ահավասիկ անոնց ժապավենները, իրեն ղրկել եթե կուզե թող ինքն ալ իմ պատկերներս ծովը նետե, բայց հոդս չէ, վասն զի անոնց փոխարժեքը ստացուած եմ»։ Ու կը մեկնի։
  36. ^ Koorghinian 1967, p. 190.
  37. ^ Sarkssian 1963, p. 31.
  38. ^ a b c d Whitmore, Janet. "Ivan K. Aivazovsky". Rehs Galleries.
  39. ^ Novouspensky, Nikolay. "Ivan Aivazovsky". artsstudio.com. Archived from the original on 10 September 2012.
  40. ^ "Моря пламенный поэт. Иван Айвазовский" (in Russian). Russia-K. 2007. Благодаря ему в Феодосии был создан водопровод, построены морской торговый порт, железная дорога, возведено здание археологического музея и многое другое.
  41. ^ a b c "Ivan Constantinovich Aivazovsky". Art Renewal Center. Archived from the original on 15 January 2021. One of the greatest seascape painters of his time, Aivazovsky conveyed the movement of the waves, the transparent water, the dialogue between sea and sky with virtuoso skill and tangible verisimilitude.
  42. ^ Yefremova, Svetlana (24 July 2008). Оставил о себе бессмертную память. Respublika Krym (in Russian). Archived from the original on 19 March 2014.
  43. ^ "Այվազովսկի Հովհաննես Կոստանդնի [Aivazovsky Hovhannes Konstandni]" (in Armenian). National Gallery of Armenia. Archived from the original on 19 March 2014.
  44. ^ Minasyan, Artavazd M.; Gevorkyan, Aleksadr V. (2008). How Did I Survive?. Newcastle upon Tyne: Cambridge Scholars Publishing. p. 56. ISBN 978-1-84718-601-0. OCLC 318443997. Aivazovsky, Ivan Konstantionvich (real name: Hovannes Gevorgovich Aivazyan) (1817–1900) – grand Russian artist-painter of seascapes, ethnic Armenian. Aside from his artwork, I.A. was also known for his valuable contributions to the developments of the Russian and Armenian cultures of the 19th century. He lived and worked in Feodosia, Crimea. He was buried there according to his will. A sign on his tombstone, written in ancient Armenian, has a quote from the 5th century "History of Armenia" by Moses Khorenatsi says: "Born as a mortal, left the immortal memory of himself."
  45. ^ a b c d e Pogrebetskaya, Irina (2017). "Aivazovsky's Estates and Lands". Tretyakov Gallery Magazine. Tretyakov Gallery. 54 (1). Archived from the original on 25 December 2018. Retrieved 5 January 2019.CS1 maint: bot: original URL status unknown (link). Originally published in Pogrebetskaya, I.M. 'Aivazovsky's Estates and Lands' // Materials of research conference "Ivan Aivazovsky's Artistic Heritage and Traditions", dedicated to the centenary of Aivazovsky's death and the 120th anniversary of the Gallery inauguration. Aivazovsky Picture Gallery, Feodosia, 2000. pp. 28–33
  46. ^ "The Ninth Wave". Hermitage Museum. Archived from the original on 4 November 2013. Retrieved 1 November 2013.
  47. ^ "Aivazovsky, I. K. The Ninth Wave. 1850". Auburn University. Retrieved 10 December 2013. Detail from "The Ninth Wave" "The Ninth Wave," painted in 1850, is Aivazovsky's most famous work and is an archetypal image for the artist.
  48. ^ Amirzyanova, Guzel (28 July 2013). Семь знаменитых картин Айвазовского. Komsomolskaya Pravda (in Russian). Archived from the original on 19 March 2014. Бесспорно, популярнейшей картиной мариниста является «Девятый вал» (1850 г.), сейчас это полотно хранится в Русском музее. Пожалуй, в нем сильнее всего передана романтическая натура художника.
  49. ^ Sarkssian 1963, p. 26.
  50. ^ a b c "Ivan Constantinovich Aivazovsky". The Athenaeum: Interactive Humanities Online. Archived from the original on 19 March 2014.
  51. ^ Nechayev, Sergey (25 July 2015). ""Стахановец" Айвазовский". Sovershenno sekretno (in Russian). 26 (355). Считается, что кисти Айвазовского принадлежит более 6000 полотен. А приписывают ему и того больше – около 20 000 картин.
  52. ^ Leek 2012, pp. 178–180.
  53. ^ Newmarch 1917, p. 192.
  54. ^ a b c d "Ivan Konstantinovich Aivazovsky (1817–1900)". Russian Museum. Archived from the original on 2 February 2014. Retrieved 10 December 2013.
  55. ^ Koorghinian 1967, p. 189.
  56. ^ Newmarch 1917, p. 191.
  57. ^ a b c d Sarkssian 1963, p. 28.
  58. ^ Cardwell 2005, p. 402.
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  60. ^ Բայրոնի այցը Մխիթարյաններին Սբ. Ղազար կղզում (1899) (in Armenian). National Gallery of Armenia. Retrieved 1 February 2014.
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  64. ^ Manin, Vitaly (2000). Архип Куинджи (in Russian). Moskva: Belyĭ gorod. p. 6. ISBN 978-5-7793-0219-7. в Феодосию к знаменитому Айвазовскому. Куинджи прибыл в тихую Феодосию, по-видимому, летом 1855 года. ... Устройством Куинджи занялся Адольф Фесслер, ученик и копиист Айвазовского. Жил Архип во дворе под навесом в ...
  65. ^ "Куинджи Архип Иванович". Russian Biographical Dictionary (in Russian). Saint Petersburg: Imperial Russian Historical Society. 1903. Хотя Куинджи и нельзя назвать учеником Айвазовского, но последний имел на него, несомненно, некоторое влияние в первый период его деятельности; от него он заимствовал многое в манере писать, в выборе тем, в любви к широким пространствам. online view
  66. ^ According to Aleksey Savinov, an art expert at the Pushkin Museum, see Smirnov, Dmitriy (9 April 2009). "Олигархи покупают Айвазовского по квадратным сантиметрам [Oligarchs buying Aivazovsky's painting by square centimeters]". Komsomolskaya Pravda (in Russian). Retrieved 16 December 2013. Он был знаменит еще при жизни, он был любимым художником Николая II.
    He [Aivazovsky] was famous during his lifetime, he was the favorite artist of Nicholas II.
  67. ^ "Russian Art Sale". Christie's. 18 November 2010. Retrieved 29 September 2013. Lauded by many as the greatest maritime artist of his time, Aivazovsky's genius lay above all in his capacity for capturing light.
  68. ^ Chekhonin, O.; Chekhonina, Svetlana; Matafonov, Vadim Stepanovich; Ivashevskaya, Galina (2003). Three centuries of Russian painting (2nd ed.). St. Petersburg: Kitezh Art Publishers. ISBN 978-5-86263-019-0. The traditions of the genre were brilliantly developed by Ivan Aivazovsky (1817–1900), the most popular artist of the 19th century.
  69. ^ "Aivazovsky's View of Venice leads Russian art auction at $1.6m". Paul Fraser Collectibles. 29 November 2012. Archived from the original on 19 March 2014. Aivazovsky (1817–1900) is widely regarded as one of the greatest seascape artists in history...
  70. ^ Lang, David Marshall (1970). Armenia: Cradle of Civilization. London: Allen & Unwin. p. 245. Aivazovsky is one of the world's most thrilling masters of the marine picture...
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  72. ^ Bowater, Marina (1990). Collecting Russian art & antiques. Hippocrene Books. p. 38. ISBN 978-0-87052-897-2. I. Aivazovsky (1817–1900), the greatest Russian land- and waterscapist — best known for his renderings of the Black Sea.
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    In the nineteenth century, Aivazovsky, who created about 6 thousand works for his long creative life, was very popular not only in Russia. His name was well known to art lovers in Europe and across the ocean.
  74. ^ Newmarch 1917, pp. 193–194: "one of the few Russian artists whose talent was generally recognized abroad."
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  76. ^ "Artists and Their Work". Munsey's Magazine. New York: Frank Munsey. XVIII (4): 488. January 1898. One of the famous living veterans of the brush is Aivazovsky, the Russian marine painter, whose eightieth birthday was recently celebrated at his native town, Feodosia, the ancient seaport in the Crimea. Aivazovsky, who visited America some years ago, is better known to the world at large than any other artist of his nationality, with the exception of the sensational Verestchagin.
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  94. ^ Mahdesian, Arshag D., ed. (1915). "Hovannes Aivazovsky (A Biographical Sketch)". The New Armenia. New York: New Armenia Publishing Company. 8: 362–363.
  95. ^ The State Russian Museum, where many of his works are located, published an album in 2000 titled "Hovhannes Aivazovsky"; see "Publications / Catalogues and Albums / 2000/". The State Russian Museum. Archived from the original on 21 December 2010. Retrieved 28 October 2016.
  96. ^ "1991–2011 – Национальная галерея Армении [1991–2011 National Gallery of Armenia]" (in Russian). National Gallery of Armenia. Retrieved 4 January 2014.
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  98. ^ Sarkissian 1967, p. 70.
  99. ^ Tumanyan, Hovhannes (1893), Այվազովսկու նկարի առջև (In front of Aiazovsky's painting) (in Armenian). Reproduced in Հովհաննես Թումանյան Երկերի Լիակատար Ժողովածու. Հատոր Առաջին. Քննադատություն և Հրապարակախոսություն 1887–1912 [Anthology of Hovhannes Tumanyan Volume 1: Criticism and Oration 1887–1912] (in Armenian). Yerevan: Armenian National Academy of Sciences. 1994. p. 139.
  100. ^ Blackwell, Alice Stone (1917). Armenian Poems. Boston: Atlantic Printing Company. p. 187.
  101. ^ "Demonstration Areas". president.am. Office to the President of the Republic of Armenia.
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  103. ^ Gnatiuk, Mikhail A.; et al. (2001). Сто великих украинцев [100 Greatest Ukrainians] (in Russian). Kiev: Orfey. ISBN 5-7838-1077-0. OCLC 50599356.
  104. ^ "Ayvazovsky hotel". Retrieved 13 December 2013.
  105. ^ See the photo of the statue of Aivazovsky brothers
  106. ^ Budjurova, Lilia; Shylenko, Olga (28 September 2017). "Ukraine and Russia fight over Crimean heritage". Agence France-Presse.
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  108. ^ "Украина присвоила Айвазовского" (in Russian). gazeta.ru. 30 July 2017.
  109. ^ "Мой друг Иван Айвазовский: Порошенко нашел еще одного "украинца"" (in Russian). RIA Novosti. 31 July 2017.
  110. ^ İnci Kuyulu Ersoy (April 2005). "Kırım, Feodosiya (Kefe) Ayvazovsky Çeşmesi". Sanat Tarihi Dergisi (in Turkish). Ege University. 14 (1): 193–204. Archived from the original on 6 June 2017.CS1 maint: bot: original URL status unknown (link)
  111. ^ "Naval Museum hosts leading marine artist Aivazovsky". Hürriyet Daily News. 6 January 2014.
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  113. ^ Marchand, Laure; Perrier, Guillaume (2015). Turkey and the Armenian Ghost: On the Trail of the Genocide. McGill-Queen's University Press. p. 129. ISBN 978-0-7735-4549-6.
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  115. ^ A 1950 stamp of the Soviet Union depicting Aivazovsky
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  117. ^ "Romania 1971 Aivazovsky stamp". eBay. Retrieved 28 January 2014.
  118. ^ "Repoblika Demokratika Malagasy 1988 Paositra". Foto.Mail.Ru. Retrieved 29 January 2014.
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  120. ^ 1995 stamp
  121. ^ 1999, 2005
  122. ^ 1999
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Bibliography[edit]

  • Newmarch, Rosa (1917). The Russian Arts. New York: E.P. Dutton & Company.
  • Adamian, A (1958). "Նոր վավերագրեր նկարիչ Հովհաննես Այվազովսկու մասին [New documentaries about the artist Hovhannes Ayvazovsky]". Bulletin of the Academy of Sciences of the Armenian SSR: Social Sciences (in Armenian). Yerevan: Armenian Academy of Sciences (11): 89–94.
  • Aral, Guillaume (2020). Aïvasovsky : Un peintre russe sur la Riviera. Nice: Editions de Nicephore. ISBN 978-2-9545266-2-1.
  • Sarkssian, M. S. (1963). "Հովհաննես Այվազովսկին և հայ մշակույթը [Hovhannes Ayvazovsky and Armenian Culture]". Patma-Banasirakan Handes (in Armenian). Yerevan: Armenian Academy of Sciences (4): 25–38.
  • Koorghinian, K. N. (1967). "Հովհաննես Այվազովսկի (Ծննդյան 150-ամյակի առթիվ) [Hovhannes Ayvazovsky]". Patma-Banasirakan Handes (in Armenian). Yerevan: Armenian Academy of Sciences (2–3): 187–194.
  • Sarkissian, M. (1967). "Հովհ. Այվազովսկու տեղը և նշանակությունը հայ նկարչության մեջ [The Place and Importance of Aivazovsky in the History of the Armenian Painting of the 19th century]". Lraber Hasarakakan Gitutyunneri (in Armenian). Armenian Academy of Sciences (10): 70–81.
  • Harutiunian, Gr. (1965). "Հովհաննես Այվազովսկու տոհմի ծագումնաբանությունը և ազգանվան փոփոխումը [Hovhannes Aivazovsky family genealogy and family name change]". Bulletin of the Academy of Sciences of the Armenian SSR: Social Sciences (in Armenian). Yerevan: Armenian Academy of Sciences (2): 89–94.
  • Ghazarian, Manya (1974). "Այվազովսկի [Aivazovsky]". Soviet Armenian Encyclopedia (in Armenian). 1. Yerevan: Armenian Encyclopedia. pp. 350–351.CS1 maint: ref duplicates default (link)
  • Sarkissian, M. S. (1988). "Հովհաննես Այվազովսկու "Բայրոնի այցը Մխիթարյաններին Ս. Ղազար կղզում" նկարը [Hovhannes Aivazovsky's Painting "Byron's Arrival to Mekhitarists on the Island of St. Lazar".]". Patma-Banasirakan Handes (in Armenian). Armenian Academy of Sciences (2): 224–226. ISSN 0135-0536.
  • Mikaelian, V. A. (1991). "И. К. Айвазовский и его соотечественники [H. K. Ayvazovsky and his compatriots]". Lraber Hasarakakan Gitutyunneri (in Russian). Yerevan: Armenian Academy of Sciences (1): 59–70. ISSN 0320-8117.
  • Cardwell, Richard (2005). Reception of Byron in Europe. London: Continuum International Publishing Group. ISBN 978-0-8264-6844-4. OCLC 646740691.
  • Bolton, Roy (2010). Views of Russia & Russian Works on Paper. London: Sphinx Fine Art. ISBN 978-1-907200-05-2.
  • Leek, Peter (2012). Russian Painting. Temptis. New York: Parkstone International. ISBN 978-1-85995-939-8. OCLC 795320658.
  • Khachatrian, Shahen. ""Поэт моря" ["The Sea Poet"]" (in Russian). Center of Spiritual Culture, Leading and National Research Samara State Aerospace University. Archived from the original on 19 March 2014.

Further reading[edit]

Books and articles on Aivazovsky[edit]

  • Айвазовский И.К. Документы и материалы [I. K. Aivazovsky: Documents and Materials] (in Russian). Yerevan: Hayastan Publishing. 1967.
  • Barsamov, Nikolay (1962). Иван Константинович Айвазовский, 1817—1900 [Ivan Konstantinovich Aivazovsky, 1817-1900] (in Russian). Moscow: Iskusstvo.
  • Novouspensky, Nikolai, ed. (1989). Aivazovsky. Leningrad: Aurora Art Publishers. ISBN 978-5-7300-0030-8. OCLC 21599603.
  • Khachatrian, Shahen (2000). Aivazovsky: Well-Known and Unknown. Samara: Agni.
  • Caffiero, Gianni; Samarine, Ivan (2000). Seas, Cities & Dreams, The Paintings of Ivan Aivazovsky. London: Alexandria Press. ISBN 1-85669-232-9.
  • Bulkeley, Rip (March 2015). "Aivazovsky's Icebergs: an Antarctic mystery". Polar Record. 51 (2): 212–215. doi:10.1017/S0032247414000047. S2CID 131719003.
  • Lyall, Sutherland (2005). Waters of Life: The Russian Painters of Water. New Line Books. ISBN 978-1-59764-041-1.
  • Tuğlacı, Pars (1983). Ayvazovski Türkiye'de (in Turkish). Istanbul: İnkılap ve Aka.

Articles analyzing Aivazovsky's works[edit]

  • Yan, Zhao (2015). "Painterly Shading Ocean Surface" (Master's thesis). Texas A&M University.
  • Bulkeley, Rip (2015). "Aivazovsky's Icebergs: an Antarctic mystery". Polar Record. 51 (2): 212–215. doi:10.1017/S0032247414000047. S2CID 131719003.

External links[edit]

  • Chronological List of paintings by Ivan Aivazovsky

Galleries of Aivazovsky's paintings[edit]

  • "Aivazovskiy, Ivan". at the Russian State Museum
  • National Gallery of Armenia
  • Russian Art Encyclopedia
  • The Athenaeum
  • Old Istanbul paints at Organization of Istanbul Armenians
  • Ivan Aivazovsky in collection of the Odessa Art Museum. Album. Odessa, Astroprint, 2012.