For more than a hundred years, the work of Ivan Konstantinovich Aivazovsky has aroused deep interest and a feeling of admiration among people of the most diverse ages, professions and mental dispositions. An outstanding artist of the second half of the last century, Aivazovsky remains one of the most popular masters of the Russian school today.

Ivan Konstantinovich was born and raised on the seashore, and it is quite natural that the artist gave his love to the sea, dedicated his work to the sea. But the sea was not the only stimulus that determined the birth of Aivazovsky’s captivating art. What was more important was that in Aivazovsky’s nature, in his way of thinking and feeling, in his entire character there were such features, the combination of which with the peculiarities of his talent gave rise to the exceptional originality of his work.

Aivazovsky began his journey as an artist in Pushkin era, and the great Russian poet blessed the aspiring painter. M. I. Glinka, I. A. Krylov, V. A. Zhukovsky, N. V. Gogol, A. A. Ivanov, K. P. Bryullov guided Aivazovsky’s first steps in art. Moreover, Bryullov and Gogol had a decisive influence on the formation of the artist’s creativity at the early stage of his development. Krylov and Zhukovsky appreciated the great talent of academician Aivazovsky and helped him in difficult days.

This was how it was at the beginning of Aivazovsky’s artistic career. Later, when Ivan Konstantinovich lived in Feodosia and came to St. Petersburg only during the winter months, he did not interrupt close communication with many leading people of his time. Aivazovsky’s circle of acquaintances was also extensive in the artistic world. The wife of the outstanding actor V. A. Michurin-Samoilova wrote: “Famous writers, artists, composers - I. S. Turgenev, N. A. Nekrasov, F. A. - constantly visited the Samoilovs’ house. Koni, K. P. Bryullov, I. K. Aivazovsky, F. G. Solntseva, M. I. Glinka, S. A. Dargomyzhsky. Unforgettable times! What ease reigned at them [the evenings], how much genuine, immediate unity there was between representatives of different types of arts. How many sparks of real talent and wit sparkled."

Petersburg friends did not remain in Aivazovsky’s debt. When they were in Crimea, they lived with the artist for a long time and sometimes organized concerts in his art gallery. A. G. Rubinstein, G. Venyavsky, artists of the Maly Theater - K. A. Varlamov, N. F. Sazonov, N. and M. Figner and many other masters of Russian art visited the artist’s house.

Aivazovsky's youthful years passed under the influence of the advanced ideas of the era, which determined the nature and direction of his work throughout his life.

Pushkin's poetry inspired Aivazovsky to create the most poetic images in Russian painting of the mid-19th century and gave them a high emotional and ideological sound.

In addition to Aivazovsky, other artists worked in Russian marine painting, whose paintings aroused the interest and sympathy of their contemporaries. It is known that in the second half of the 19th century there were people who preferred the paintings of A.P. Bogolyubov and even R.G. Sudkovsky, seeing in them a more real, accurate and detailed image of the sea and ships than that of the romantic Aivazovsky. During Aivazovsky’s life, along with the wide recognition of his work throughout the world (he was a member of five art academies), voices were heard condemning both the method of his painting and the very nature of his art. He was subjected to especially violent attacks at the end of the 19th and beginning of the 20th centuries. It was even considered a sign of “advancedness” to condemn Aivazovsky’s art. Particular rage was shown by those who were disgusted by the ideological orientation of Russian realistic art of the second half of the 19th century century.

Years have passed, and few people now can name at least a few of Bogolyubov’s or Sudkovsky’s marinas, but Aivazovsky’s works are well known and loved by very, very many.

Now, one hundred and twenty-five years after the appearance of Aivazovsky’s first paintings, we perceive him with deep interest creative heritage, with sincere sympathy we remember the active, lively, enthusiastic nature of the artist.

Many of Aivazovsky’s works attract us with their unusual and unexpected content. The roar of rocks falling into the sea, volleys of guns, the furious howl of the wind and the blows of waves, raging elements, illuminated by flashes of lightning in the darkness of the night, and along with this, flaming sunrises and sunsets, poetic moonlit nights at sea - all these are phenomena whose depiction is relatively rare found in painting. They evoke intense attention in the viewer, shake the imagination and are remembered for a long time.

Aivazovsky's art is fundamentally pathetic. This talent trait gave his paintings bright expressiveness and captivating power. Paustovsky once said casually: “We don’t like pathos, obviously because we don’t know how to express it.” There are still exceptions to this truthful statement: Gogol, Dostoevsky - in Russian literature, Aivazovsky - in painting.

Aivazovsky's works almost always express the strongest feelings and vivid experiences. This is the quality of his impetuous, spontaneous, sincere nature. Of course, not everyone liked Aivazovsky’s pathos and pathos, but the brightness and imagery of his works, the talent and expressiveness of their execution were so attractive that even people who were disgusted by the noisy form of expressing feelings were reconciled and recognized the captivating power of Aivazovsky’s art. This was the case with I.N. Kramskoy, V.V. Stasov and many others.

Ivan Konstantinovich Aivazovsky is a famous Russian marine painter, author of more than six thousand canvases. Professor, academician, philanthropist, honorary member of the Academies of Arts of St. Petersburg, Amsterdam, Rome, Stuttgart, Paris and Florence.

The future artist was born in Feodosia, in 1817, into the family of Gevork and Hripsime Gaivazovsky. Hovhannes’s mother (the Armenian version of the name Ivan) was a purebred Armenian, and his father came from Armenians who migrated from Western Armenia, which found itself under Turkish rule, to Galicia. Gevork settled in Feodosia under the name Gaivazovsky, writing it down in the Polish manner.

Hovhannes's father was amazing person, enterprising, savvy. Dad knew Turkish, Hungarian, Polish, Ukrainian, Russian and even Gypsy languages. In Crimea, Gevork Ayvazyan, who became Konstantin Grigorievich Gaivazovsky, very successfully engaged in trade. In those days, Feodosia grew rapidly, acquiring the status of an international port, but all the successes of the enterprising merchant were reduced to zero by the plague epidemic that broke out after the war with.

By the time Ivan was born, the Gaivazovskys already had a son, Sargis, who took the name Gabriel as a monk, then three more daughters were born, but the family lived in great need. Repsime's mother helped her husband by selling her elaborate embroideries. Ivan grew up as a smart and dreamy child. In the morning, he woke up and ran to the seashore, where he could spend hours watching ships and small fishing boats entering the port, admiring the extraordinary beauty of the landscape, sunsets, storms and calms.

The boy painted his first pictures on the sand, and after a few minutes they were washed away by the surf. Then he armed himself with a piece of coal and decorated the white walls of the house where the Gaivazovskys lived with drawings. The father looked, frowning at his son’s masterpieces, but did not scold him, but thought deeply. From the age of ten, Ivan worked in a coffee shop, helping his family, which did not at all prevent him from growing up as an intelligent and talented child.

As a child, Aivazovsky himself learned to play the violin, and, of course, constantly drew. Fate brought him together with the Feodosia architect Yakov Koch, and this moment is considered to be a turning point, defining in the biography of the future brilliant marine painter. Noticing the boy’s artistic abilities, Koch supplied the young artist with pencils, paints and paper, and gave him his first drawing lessons. The second patron of Ivan was the mayor of Feodosia, Alexander Kaznacheev. The governor appreciated Vanya’s skillful playing of the violin, because he himself often played music.

In 1830, Kaznacheev sent Aivazovsky to the Simferopol gymnasium. In Simferopol, the wife of the Taurida governor, Natalya Naryshkina, drew attention to the talented child. Ivan began to visit her home often, and the society lady put her library, a collection of engravings, and books on painting and art at his disposal. The boy worked incessantly, copying famous works, drew studies, sketches.

With the assistance of the portrait painter Salvator Tonchi, Naryshkina turned to Olenin, the president of the Imperial Academy of Arts in St. Petersburg, with a request to place the boy in the academy with full board. In the letter, she described in detail Aivazovsky’s talents, his life situation and attached drawings. Olenin appreciated the young man’s talent, and soon Ivan was enrolled in the Academy of Arts with the personal permission of the emperor, who also saw the drawings sent.

At the age of 13, Ivan Aivazovsky became the youngest student at the Academy in Vorobyov’s landscape class. The experienced teacher immediately appreciated the magnitude and power of Aivazovsky’s talent and, to the best of his ability and ability, gave the young man a classical art education, a kind of theoretical and practical basis for the virtuoso painter that Ivan Konstantinovich soon became.

Very quickly the student surpassed the teacher, and Vorobiev recommended Aivazovsky to Philip Tanner, a French marine painter who arrived in St. Petersburg. Tanner and Aivazovsky did not get along in character. The Frenchman dumped all the rough work on the student, but Ivan still found time for his own paintings.

Painting

In 1836, an exhibition was held where the works of Tanner and the young Aivazovsky were presented. One of Ivan Konstantinovich’s works was awarded a silver medal, he was also praised by one metropolitan newspaper, but the Frenchman was reproached for mannerisms. Philip, burning with anger and envy, complained to the emperor about a disobedient student who had no right to exhibit his works at an exhibition without the knowledge of the teacher.

Formally, the Frenchman was right, and Nicholas ordered the paintings to be removed from the exhibition, and Aivazovsky himself fell out of favor at court. The talented artist was supported by the best minds of the capital, with whom he managed to make acquaintance: President of the Academy Olenin. As a result, the matter was decided in favor of Ivan, for whom Alexander Sauerweid, who taught painting to the imperial offspring, stood up.

Nikolai awarded Aivazovsky and even sent him and his son Konstantin to the Baltic Fleet. The Tsarevich studied the basics of maritime affairs and fleet management, and Aivazovsky specialized in the artistic side of the issue (it is difficult to write battle scenes and ships without knowing their structure).

Sauerweid became Aivazovsky's teacher in battle painting. A few months later, in September 1837, the talented student received a gold medal for the painting “Calm”, after which the leadership of the Academy decided to release the artist from the educational institution, since it could no longer give him anything.

At the age of 20, Ivan Aivazovsky became the youngest graduate of the Academy of Arts (according to the rules, he was supposed to study for another three years) and went on an paid trip: first to his native Crimea for two years, and then to Europe for six years. The happy artist returned to his native Feodosia, then traveled around the Crimea and took part in the amphibious landing in Circassia. During this time he painted many works, including peaceful seascapes and battle scenes.

After a short stay in St. Petersburg in 1840, Aivazovsky left for Venice, and from there to Florence and Rome. During this trip, Ivan Konstantinovich met with his older brother Gabriel, a monk on the island of St. Lazarus, and became acquainted with. In Italy, the artist studied the works of great masters and wrote a lot himself. He exhibited his paintings everywhere, and many were sold out immediately.

The Pope himself wanted to buy his masterpiece “Chaos”. Hearing about this, Ivan Konstantinovich personally presented the painting to the pontiff. Touched by Gregory XVI, he presented the painter with a gold medal, and the fame of the talented marine painter thundered throughout Europe. Then the artist visited Switzerland, Holland, England, Portugal and Spain. On the way home, the ship on which Aivazovsky was sailing was caught in a storm, and a terrible storm broke out. For some time there were rumors that the marine painter had died, but, fortunately, he managed to return home safe and sound.

Aivazovsky had the happy fate of making acquaintances and even friendships with many outstanding people of that era. The artist was closely acquainted with Nikolai Raevsky, Kiprensky, Bryullov, Zhukovsky, not to mention his friendship with the imperial family. And yet connections, wealth, fame did not seduce the artist. The main things in his life were always family, ordinary people, and his favorite job.

Having become rich and famous, Aivazovsky did a lot for his native Feodosia: he founded an art school and an art gallery, a museum of antiquities, sponsored the construction of a railway, and a city water supply fed from his personal source. At the end of his life, Ivan Konstantinovich remained as active and active as in his youth: he visited America with his wife, worked a lot, helped people, was engaged in charity, improvement of his native city and teaching.

Personal life

The personal life of the great painter is full of ups and downs. There were three loves, three women in his destiny. Aivazovsky’s first love was a dancer from Venice, world celebrity Maria Taglioni, who was 13 years older than him. The artist in love went to Venice to follow his muse, but the relationship was short-lived: the dancer chose ballet over the young man’s love.

In 1848, out of great love, Ivan Konstantinovich married Julia Grevs, the daughter of an Englishman who was the court physician of Nicholas I. The young couple went to Feodosia, where they had a magnificent wedding. In this marriage, Aivazovsky had four daughters: Alexandra, Maria, Elena and Zhanna.

In the photo the family looks happy, but the idyll was short-lived. After the birth of her daughters, the wife changed in character, suffering from a nervous illness. Julia wanted to live in the capital, attend balls, give parties, lead a social life, and the artist’s heart belonged to Feodosia and ordinary people. As a result, the marriage ended in divorce, which did not happen often at that time. With difficulty, the artist managed to maintain relationships with his daughters and their families: his grumpy wife turned the girls against their father.

The artist met his last love at an advanced age: in 1881 he was 65 years old, and his chosen one was only 25 years old. Anna Nikitichna Sarkizova became Aivazovsky's wife in 1882 and was with him until the very end. Her beauty was immortalized by her husband in the painting “Portrait of the Artist’s Wife.”

Death

The great marine painter, who became a world celebrity at the age of 20, died at home in Feodosia at the age of 82, in 1900. The unfinished painting “Ship Explosion” remained on the easel.

Best paintings

• "The Ninth Wave";
• "Shipwreck";
• "Night in Venice";
• "Brig Mercury attacked by two Turkish ships";
• “Moonlit night in Crimea. Gurzuf";
• "Moonlit Night on Capri";
• "Moonlit Night on the Bosphorus";
• "Walking on the Waters";
• "Chesme fight";
• "Moonwalk"
• "Bosphorus on a Moonlit Night";
• "A.S. Pushkin on the Black Sea coast";
• "Rainbow";
• "Sunrise in the Harbor";
• "Ship in the middle of a storm";
• "Chaos. World creation;
• "Calm";
• "Venice Night";
• "Global flood".

Aivazovsky took place in an environment that awakened his imagination. Tarred fishing feluccas came to Feodosia by sea from Greece and Turkey, and sometimes huge white-winged beauties dropped anchor in the roadstead - warships Black Sea Fleet. Among them was, of course, the brig “Mercury,” the fame of whose recent, absolutely incredible feat spread throughout the world and was vividly imprinted in Aivazovsky’s childhood memory. They brought rumors here about the harsh liberation struggle that the Greek people waged in those years.

Since childhood, Aivazovsky dreamed of exploits folk heroes. In his declining years, he wrote: “The first paintings 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 sea.”

The romance of the exploits of heroes fighting at sea, the truthful rumors about them, bordering on fantasy, awakened Aivazovsky’s desire for creativity and determined the formation of many unique features of his talent, which clearly manifested themselves in the process of developing his talent.

A happy accident brought Aivazovsky from remote Feodosia to St. Petersburg, where in 1833, based on the children’s drawings presented, he was enrolled in the Academy of Arts, in the landscape class of Professor M.N. Vorobyova.

Aivazovsky's talent was revealed unusually early. In 1835, for the sketch “Air over the Sea” he was already awarded a silver medal of the second rank. And in 1837, at an academic exhibition, he showed six paintings that were highly praised by the public and the Council of the Academy of Arts, which decided: “As the 1st Art. academician, Gaivazovsky (the artist changed his surname to Aivazovsky in 1841) was awarded a first-class gold medal for excellent success in painting sea views, which comes with the right to travel to foreign lands for improvement.” Due to his youth, in 1838 he was sent to the Crimea for two years to work independently.

During his two-year stay in Crimea, Aivazovsky painted a number of paintings, among which were beautifully executed pieces: “Moonlit Night in Gurzuf” (1839), “Sea Shore” (1840) and others.
Aivazovsky’s first works indicate a careful study of the late work of the famous Russian artist S.F. Shchedrin and landscapes by M.N. Vorobyova.

In 1839, Aivazovsky took part as an artist in a naval campaign to the shores of the Caucasus. On board a warship he met famous Russian naval commanders: M.P. Lazarev and the heroes of the future defense of Sevastopol, young officers in those years, V.A. Kornilov, P.S. Nakhimov, V.N. Istomin. He maintained friendly relations with them 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 was depicted by him in the painting “Landing at Subashi”.

Aivazovsky went abroad in 1840 as an established marine painter. Aivazovsky’s success in Italy and the European fame that accompanied him during his business trip were brought by his romantic seascapes “Storm”, “Chaos”, “Neapolitan Night” and others. This success was perceived in his homeland as a well-deserved tribute to the artist’s talent and skill.

In 1844, two years ahead of schedule, Aivazovsky returned to Russia. Here, for his outstanding success in painting, he was awarded the title of academician and entrusted with an “extensive and complex order” - to paint all the Russian military ports on the Baltic Sea. The Navy Department awarded him the honorary title of artist of the Main Naval Staff with the right to wear an admiralty uniform.

During the winter months of 1844/45, Aivazovsky fulfilled a government order and created a number of other beautiful marinas. In the spring of 1845, Aivazovsky went with Admiral Litke to the shores of Asia Minor and the islands of the Greek archipelago. 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. At the end of the trip, Aivazovsky stayed in Crimea, starting to build a large art workshop and house in Feodosia on the seashore, which from that time became his permanent place of residence. And thus, despite success, recognition and numerous orders, and the desire of the imperial family to make him a court painter, Aivazovsky left St. Petersburg.

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 his sea voyages, he enriched his observations, and drawings accumulated in his folders. But wherever Aivazovsky was, he was always drawn to his native shores of the Black Sea.

Aivazovsky’s life proceeded calmly in Feodosia, without any significant events. In winter, he usually went to St. Petersburg, where he organized exhibitions of his works.

Despite his seemingly secluded, secluded lifestyle in Feodosia, Aivazovsky remained close to many prominent figures of Russian culture, meeting them in St. Petersburg and receiving them in his Feodosia house. Thus, back in the second half of the 30s in St. Petersburg, Aivazovsky became close to remarkable figures of Russian culture - K.P. Bryullov, M.I. Glinka, V.A. Zhukovsky, I.A. Krylov, and during his trip to Italy in 1840 he met N.V. Gogol and the artist A.A. Ivanov.

Aivazovsky's painting of the forties and fifties is marked by the strong influence of the romantic traditions of K.P. Bryullov, which affected not only the painting skill, but also the very understanding and worldview of Aivazovsky. Like Bryullov, he strives to create grandiose colorful canvases that can glorify Russian art. Aivazovsky has in common with Bryullov his brilliant painting skills, virtuosic technique, speed and courage of execution. This was very clearly reflected in one of the early battle paintings, “The Battle of Chesme,” written by him in 1848, dedicated to an outstanding naval battle.

After the Battle of Chesma took place in 1770, Orlov wrote in his report to the Admiralty Board: “: Honor to the All-Russian Fleet. From June 25 to 26, the enemy fleet (we) attacked, defeated, broke, burned, sent to heaven, turned to ashes: and we ourselves began to dominate the entire archipelago: “The pathos of this report, the pride in the outstanding feat of the Russian sailors, the joy of the victory achieved is wonderful conveyed by Aivazovsky in his film. At the first glance at the picture, we are overcome with a feeling of joyful excitement, as if from a festive spectacle - brilliant fireworks. And only with a detailed examination of the picture does the plot side of it become clear. The battle is depicted at night. In the depths of the bay, burning ships of the Turkish fleet are visible, one of them at the moment of the explosion. Covered in fire and smoke, the wreckage of the ship flies into the air, turning into a huge blazing fire. And on the side, in the foreground, the flagship of the Russian fleet rises in a dark silhouette, to which, saluting, a boat with the crew of Lieutenant Ilyin, who blew up his fire-ship among the Turkish flotilla, approaches. And if we come closer to the picture, we will discern the wreckage of Turkish ships on the water with groups of sailors calling for help, and other details.

Aivazovsky was the last and most a prominent representative romantic trend in Russian painting, and these features of his art were especially evident when he painted sea battles full of heroic pathos; in them one could hear that “music of battle”, without which a battle picture is devoid of emotional impact.

But it’s not only Aivazovsky’s battle paintings that are permeated with the spirit of epic heroism. 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 Sevastopol Bay” (1851).
Even brighter romantic traits were reflected in the painting “The Ninth Wave”, painted by Aivazovsky in 1850. Aivazovsky depicted the early morning after a stormy night. The first rays of the sun illuminate the raging ocean and the huge “ninth wave”, ready to fall on a group of people seeking salvation on the wreckage of the masts.

The viewer can immediately imagine what a terrible thunderstorm passed at night, what disaster the ship’s crew suffered and how the sailors died. Aivazovsky found the exact means to depict the greatness, power and beauty of the sea element. Despite the dramatic nature of the plot, the picture does not leave a gloomy impression; on the contrary, it is full of light and air and is completely permeated with the rays of the sun, giving it an optimistic character. This is greatly facilitated by the color scheme of the picture. It is painted with the brightest colors of the palette. Its color includes a wide range of shades of yellow, orange, pink and purple in the sky in combination with green, blue and purple in the water. The bright, major color palette of the picture sounds like a joyful hymn to the courage of people defeating the blind forces of a terrible, but beautiful in its formidable greatness, element.

This painting found a wide response at the time of its appearance and remains to this day one of the most popular in Russian painting.

Aivazovsky had his own established creative system. “A painter who only copies,” he said, “becomes her slave: The movements of living elements are elusive to the brush: painting lightning, a gust of wind, a splash of a wave is unthinkable from life: The artist must remember them: The plot of the paintings is formed in my memory, like poet; Having made a sketch on a piece of paper, I begin to work and do not leave the canvas until I express myself on it with a brush: “

The comparison of the working methods of the artist and the poet here is not accidental. On the formation of Aivazovsky’s creativity big influence had the poetry of A.S. Pushkin, therefore, Pushkin’s stanzas often appear in our memory before Aivazovsky’s paintings. Aivazovsky’s imagination was not constrained by anything during the work process. When creating his works, he relied only on his truly extraordinary visual memory and poetic imagination.

Aivazovsky had an exceptionally versatile talent, which happily combined the qualities absolutely necessary for a marine painter. In addition to a poetic way of thinking, he was gifted with an excellent visual memory, a vivid imagination, absolutely accurate visual sensitivity and a firm mind that kept pace with the rapid pace of his creative thought. This allowed him to work, improvising with an ease that amazed many of his contemporaries.

V.S. Krivenko very well conveyed his impressions of Aivazovsky’s work on a large canvas that came to life under the master’s brush: “By the lightness, the apparent ease of hand movement, by the contented expression on his face, one could safely say that such work is a true pleasure.” This, of course, was possible thanks to a deep knowledge of various techniques, which Aivazovsky used.

Aivazovsky had a long creative experience, and therefore, when he painted his paintings, technical difficulties did not stand in his way, and his picturesque images appeared on canvas in all the integrity and freshness of the original artistic concept.

For him there were no secrets in how to write, what technique 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 rumble of a wave on a sandy shore, so that the viewer could see the coastal sand shining through the foamy water. He knew many techniques for depicting waves crashing against coastal rocks.

Finally, he deeply comprehended the various states of the air, the movement of clouds and clouds. All this helped him brilliantly realize his painting ideas and create bright, artistically executed works.

The fifties are associated with the Crimean War of 1853-56. As soon as word of the Battle of Sinop reached Aivazovsky, he immediately went to Sevastopol and asked the participants in the battle about all the circumstances of the case. Soon, two paintings by Aivazovsky were exhibited in Sevastopol, depicting the Battle of Sinop at night and during the day. The exhibition was visited by Admiral Nakhimov; Praising Aivazovsky’s work, especially the night battle, he said: “The picture is extremely well done.” Having visited besieged Sevastopol, Aivazovsky also painted a number of paintings dedicated to the heroic defense of the city.

Many times later Aivazovsky returned to depicting naval battles; his battle paintings are distinguished by historical truth, accurate depiction of sea vessels and understanding of tactics sea ​​battle. Aivazovsky's paintings of naval battles became a chronicle of the exploits of the Russian navy, they vividly reflected the historical victories of the Russian fleet, the legendary exploits of Russian sailors and naval commanders ["Peter I on the shores of the Gulf of Finland" (1846), "Battle of Chesme" (1848), “The Battle of Navarino” (1848), “The brig “Mercury” is fighting with two Turkish ships” (1892) and others].

Aivazovsky had a lively, responsive mind, and in his work one can find paintings on a wide variety of topics. Among them are images of the nature of Ukraine; from a young age, he fell in love with the boundless Ukrainian steppes and inspiredly depicted them in his works [“The Chumatsky Convoy” (1868), “Ukrainian Landscape” (1868) and others], coming close to the landscape of the masters of Russian ideological realism . Aivazovsky’s proximity to Gogol, Shevchenko, and Sternberg played a role in this attachment to Ukraine.

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

Depicting the wide expanses of sea and sky, the artist conveyed nature in living movement, in the endless variability of forms: either in the form of gentle, calm calms, or in the image of a formidable, raging element. With the instinct of an artist, he comprehended the hidden rhythms of the movement of the sea wave and with inimitable skill knew how to convey them in fascinating and poetic images.

The year 1867 is associated with a major event that had great socio-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 Aivazovsky’s lifetime) upsurge of the liberation struggle of the Greek people, which evoked a wide sympathetic response among progressive thinking people all over the world. Aivazovsky responded to this event with a large series of paintings.

In 1868, Aivazovsky undertook a trip 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 Daryal Gorge and the village of Gunib, lost among the rocky mountains - Shamil’s last nest. 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 way of life of Egypt, with its pyramids, sphinxes, and camel caravans.

In 1870, when the fiftieth anniversary of the discovery of Antarctica by Russian navigators F.F. was celebrated. Bellingshausen and M.P. Lazarev, Aivazovsky painted the first painting depicting polar ice - “Ice Mountains”. 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 educational value.

In 1873, Aivazovsky created the outstanding painting “Rainbow”. The plot of this picture - a storm at sea and a ship dying off a rocky shore - is nothing unusual for Aivazovsky’s work. But its colorful range and painterly execution were 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 wind blows water dust off their crests. As if through a rushing whirlwind, the silhouette of a sinking ship and the vague outlines of a rocky shore are barely visible. The clouds in the sky dissolved into a transparent, damp veil. A stream of sunlight broke through this chaos, lay like a rainbow on the water, giving the painting a multicolored coloring. The whole picture is painted 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 subtle mirage. From this, the rainbow acquired that transparency, softness and purity of color that always delights and enchants us in nature. The painting “Rainbow” was a new, higher level in Aivazovsky’s work.

Regarding one of these paintings by Aivazovsky F.M. Dostoevsky wrote: “The Storm: Mr. Aivazovsky: amazingly good, like all his storms, and here he is a master - without rivals: In his storm there is rapture, there is that eternal that amazes the viewer in a living, real storm:”

In the work of Aivazovsky in the seventies, one can trace the appearance of a number of paintings depicting the open sea at midday, painted in a blue color scheme.

The beauty of such paintings lies in the crystal clarity and sparkling radiance that they emit. It’s not for nothing that this cycle of paintings is usually called “Aivazov’s blues.” A large place in the composition of Aivazovsky’s paintings is always occupied by the sky, which he knew how to convey with the same perfection as the sea element. The ocean of air - the movement of air, the variety of outlines of clouds and clouds, their menacing rapid flight during a storm or the softness of the glow in the pre-sunset hour of a summer evening sometimes in themselves created the emotional content of his paintings.

The night marinas of Aivazovsky are unique. “Moonlit Night at Sea”, “Moonrise” - this theme runs through all of Aivazovsky’s work. Effects moonlight, the moon itself, surrounded by light transparent clouds or peeping through clouds torn by the wind, he was able to depict with illusory precision. Aivazovsky’s images of night nature are some of the most poetic images of nature in painting. They often evoke poetic and musical associations.

Aivazovsky was close to many Itinerants. The humanistic content of his art and brilliant skill were highly appreciated by Kramskoy, Repin, Stasov and Tretyakov. Aivazovsky and the Wanderers had much in common in their views on the social significance of art. Long before organizing traveling exhibitions, Aivazovsky began organizing exhibitions of his paintings in St. Petersburg, Moscow, as well as in many other large cities of Russia. In 1880, Aivazovsky opened Russia's first peripheral art gallery in Feodosia.

Under the influence of the advanced Russian art of the Peredvizhniki, Aivazovsky’s work manifested itself with particular force. realistic features, making his works even more expressive and meaningful. Apparently, this is why it has become common to consider Aivazovsky’s paintings of the seventies to be the highest achievement in his work. Now the process is completely clear to us continuous growth his mastery and deepening the content of the pictorial images of his works, which continued throughout his life.

In 1881, Aivazovsky created one of the most significant works– painting “Black Sea”. The sea is depicted on a cloudy day; waves, appearing at the horizon, move towards the viewer, creating with their alternation a majestic rhythm and sublime structure of the picture. It is written in a spare, restrained color scheme, which enhances its emotional impact. No wonder Kramskoy wrote about this work: “This is one of the most grandiose paintings I know.” The picture testifies that 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 subtle, strict rhythm of its breathing, in its clearly perceptible potential power.

Stasov wrote about Aivazovsky many times. He disagreed with many things in his work. He rebelled especially vehemently against Aivazovsky’s improvisational method, 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, he wrote: “Marine painter Aivazovsky by birth and by nature was an absolutely exceptional artist, keenly feeling and independently conveying, perhaps like no one else in Europe, water with its extraordinary beauties "

Aivazovsky's life was absorbed in enormous creative work. His creative path is a continuous process of improving painting skills. At the same time, it should be noted that it was in the last decade that the bulk of Aivazovsky’s unsuccessful works fell. This can be explained by the artist’s age and the fact that it was at this time that he began to work in genres that were not typical of his talent: portraiture and household painting. Although even among this group of works there are things in which the hand of a great master is visible.

Take, for example, the small painting “Wedding in Ukraine” (1891). A cheerful village wedding is depicted against the background of the landscape. A party is taking place near the thatched hut. A crowd of guests, young musicians - everyone poured out into the open air. And here, in the shade of large spreading trees, to the sounds of a simple orchestra, the dancing continues. This whole motley mass of people fits very well into the landscape - wide, clear, with a beautifully depicted high cloudy sky. It’s hard to believe that the painting was created by a marine painter, the entire genre part of it is depicted so easily and simply.

Until his old age, until the last days of his life, Aivazovsky was full of new ideas that excited him as if he were not an eighty-year-old highly experienced master who painted six thousand paintings, but a young, beginning artist who had just embarked on the path of art. The artist’s lively, active nature and preserved undullness of feelings are characterized by his answer to the question of one of his friends: which of all the paintings painted by the master himself considers the best. “The one,” Aivazovsky answered without hesitation, “that stands on the easel in the studio, which I began to paint today:”

In his correspondence of recent years there are lines that speak of the deep excitement that accompanied his work. At the end of one big business letter in 1894 there are the following words: “Forgive me for writing on pieces (of paper). I’m painting a big picture and I’m terribly worried.” In another letter (1899): “I wrote a lot this year. 82 years make me hurry: “He was at that age when he was clearly aware that his time was running out, but he continued to work with ever-increasing energy.

In the last period of his creativity, Aivazovsky repeatedly turned to the image of A.S. Pushkin ["Pushkin's Farewell to the Black Sea" (1887), the figure of Pushkin was painted by I.E. Repin, “Pushkin at the Gurzuf Rocks” (1899)], in whose poems the artist finds a poetic expression of his relationship to the sea.

At the end of his life, Aivazovsky was absorbed in creating a synthetic image of the sea element. In the last decade, he painted 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 huge paintings, Aivazovsky painted a number of works that were close to them in concept, but stood out for their new colorful range, extremely sparing in color, almost monochrome. Compositionally and subject-wise, these paintings are very simple. They depict rough surf on a windy day. A wave has just crashed on the 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 increasing movement, Aivazovsky takes a very low horizon, which is almost touched by the crest of a large approaching wave. Far from the shore, in the roadstead, ships are depicted with furled sails and anchored. A heavy leaden sky with thunderclouds hung over the sea. The commonality of the content of the paintings in this cycle is obvious. All of them are essentially variants of the same plot, differing only in details. This significant series of paintings is united not only by the commonality of the subject, but also by the color scheme, a characteristic combination of a lead-gray sky with an olive-ochre color of water, slightly touched by greenish-blue glazes at the horizon.

Such a simple and at the same time very expressive color scheme, the absence of any bright external effects, and a clear composition create a deeply truthful image of the sea surf on a stormy winter day. At the end of his life, Aivazovsky painted quite a lot of paintings in gray colors. Some were small in size; they were written in one or two hours and are marked by the charm of the inspired improvisations of a great artist. The new cycle of paintings had no less merits than his “blue marines” of the seventies.

Finally, in 1898, Aivazovsky painted the painting “Among the Waves,” which was the pinnacle of his work.

The artist depicted a raging element - a stormy sky and a stormy sea, covered with waves, as if boiling in a collision with one another. He abandoned the usual details in his paintings in the form of fragments of masts and dying ships, lost in the vast expanse of the sea. He knew many ways to dramatize the subjects of his paintings, but did not resort to any of them while working on this work. “Among the Waves” seems to continue to reveal the content of the painting “Black Sea” in time: if in one case the agitated sea is depicted, in the other it is already raging, at the moment of the highest formidable state of the sea element. The mastery of the painting “Among the Waves” is the fruit of the artist’s long and hard work throughout his life. His work on it proceeded quickly and easily. The brush, obedient to the artist’s hand, sculpted exactly the shape that the artist wanted, and laid paint on the canvas in the way that the experience of skill and the instinct of a great artist, who did not correct the stroke once laid out, told him. Apparently, Aivazovsky himself was aware that the painting “Among the Waves” was significantly superior in terms of execution to all previous works of recent years. Despite the fact that after its creation he worked for another two years, organizing 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 hometown of Feodosia.

The painting “Among the Waves” did not exhaust Aivazovsky’s creative possibilities. The next year, 1899, he painted a small painting, beautiful in its clarity and freshness of color, based on a combination of bluish-green water and pink in the clouds - “Calm on the Crimean Shores”. And literally in the last days of his life, preparing for a trip to Italy, he painted the painting “Gulf of the Sea,” depicting the Bay of Naples at noon, where moist air is conveyed with captivating subtlety in pearly colors. Despite the very small size of the picture, the features of new coloristic achievements are clearly visible in it. And, perhaps, had Aivazovsky lived a few more years, this painting would have become a new step in the development of the artist’s skill.

Speaking about the work of Aivazovsky, one cannot help but dwell on the large graphic heritage left by the master, because his drawings are of wide interest both from the point of view 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, to 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 mastery. The drawings of this pore are harmonious in the compositional distribution of masses and are distinguished by strict elaboration of details. Large sheet sizes and graphic completeness indicate great importance, which Aivazovsky gave to drawings made from life. These were mainly images of coastal cities. Using sharp, hard graphite, Aivazovsky painted city buildings clinging to mountain ledges, receding into the distance, or individual buildings he liked, composing them into landscapes. Using the simplest graphic means - line, almost without using chiaroscuro, he achieved the subtlest effects and accurate rendering 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 for the composition of paintings without any changes. Later he reworked them, and often they served him only as the first impetus to carry out 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 creativity, when Aivazovsky made quick travel sketches, 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 clarity, acquired new pictorial qualities.

As it crystallized creative method Aivazovsky and accumulated enormous creative experience and skill, a noticeable shift occurred 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 early period creativity. Of course, Aivazovsky was not always immediately satisfied with the solution found in the sketch. There are three versions of the sketch for his last painting, “The Explosion of the Ship.” He strove for the best solution to the composition even in the drawing format: two drawings were made in a horizontal rectangle and one in a vertical one. All three are executed with a quick stroke that conveys the scheme of the composition. Such drawings seem to illustrate the words of Aivazovsky relating to the method of his work: “Having sketched with a pencil on a piece of paper the plan of the picture I have conceived, I get to work and, so to speak, devote myself to it with all my soul.” Aivazovsky's graphics enrich and expand our usual understanding of his work and his unique method of work.

For graphic works Aivazovsky used a variety of materials and techniques.

A number of finely painted watercolors done in one color - sepia - date back to the sixties. Using usually a light fill of the sky with highly diluted paint, barely outlining the clouds, barely touching the water, Aivazovsky laid out the foreground in a broad, dark tone, painted the mountains in 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 at sea, the rolling of a transparent wave onto the shore, the radiance of light clouds over the deep sea. In terms of the height of skill and subtlety of the conveyed state of nature, such sepia by Aivazovsky go far beyond the usual idea of ​​​​watercolor sketches.

In 1860, Aivazovsky wrote a similar kind of beautiful sepia “The Sea after the Storm.” Aivazovsky was apparently satisfied with this watercolor, since he sent it as a gift to P.M. Tretyakov. Aivazovsky widely used coated paper, drawing on which he achieved virtuoso skill. Such 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 a steel-gray color. Using various techniques of scratching the tinted chalk layer, Aivazovsky conveyed well the foam on the wave crests and the reflections on the water.

Aivazovsky also drew masterfully with pen and ink.

Aivazovsky survived two generations of artists, and his art covers a huge period of time - sixty years of creativity. Starting with works full of bright romantic images, Aivazovsky came to a soulful, deeply realistic and heroic image of the sea element, creating the painting “Among the Waves.”

Until his last day, he happily retained not only his undulled vigilance, but also his deep faith in his art. He walked his path without the slightest hesitation or doubt, maintaining clarity of feelings and thinking into 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 strewn with honorary orders from many countries.

Among the famous marine painters of all times and peoples, it is difficult to find someone who could more accurately convey the majestic power and attractive charm of the sea than Aivazovsky. This greatest painter The 19th century left us a unique legacy of paintings that can instill a love for Crimea and a passion for travel in anyone who has never even been to the shores of the sea. In many ways, the secret lies in Aivazovsky’s biography; he was born and raised in an environment inseparably connected with the sea.

Youth in the biography of Aivazovsky

Describing the biography of Ivan Konstantinovich Aivazovsky, we must first note that he was born in Feodosia on July 17, 1817 in merchant family of Armenian origin.

Father - Gevork (in Russian version Konstantin) Ayvazyan; I.K. Aivazovsky. Father's portrait	Mother: Hripsime Ayvazyan. I.K. Aivazovsky. Portrait of a mother	Aivazovsky portrayed himself as a boy painting his hometown. 1825

At birth the boy was named Hovhannes (this is an Armenian word form male name John), and the future famous artist got his modified surname thanks to his father, who, having moved in his youth from Galicia to Moldova, and then to Feodosia, wrote it down in the Polish manner “Gayvazovsky”.

The house in which Aivazovsky spent his childhood stood on the outskirts of the city, on a small hill, from where there was an excellent view of the Black Sea, the Crimean steppes and the ancient mounds located on them. From an early age, the boy was lucky enough to see the sea in its different characters (kind and menacing), to watch fishing feluccas and large ships. The environment awakened his imagination, and very soon the boy discovered his artistic abilities. Local architect Koch gave him his first pencils, paints, paper and his first few lessons. This meeting became a turning point in the biography of Ivan Aivazovsky.

The beginning of the biography of Aivazovsky as a legendary artist

Since 1830, Aivazovsky studied at the Simferopol gymnasium, and at the end of August 1833 he went to St. Petersburg, where he entered the most prestigious Imperial Academy of Arts at that time, and until 1839 he successfully studied landscape direction in the class of Maxim Vorobyov.

The very first exhibition in the biography of Aivazovsky, the artist, which brought fame to the young talent at that time, took place in 1835. Two works were presented there, and one, “Study of Air over the Sea,” was awarded a silver medal.

Then the painter devoted himself more and more to new works, and already in 1837. famous painting“Calm” brought Aivazovsky a big gold medal. In the coming years, his biography and paintings will be displayed at the Academy of Arts.

Aivazovsky: biography at the dawn of creativity

Since 1840, the young artist has been sent to Italy; this is one of the special periods in Aivazovsky’s biography and work: he has been improving his skills for several years, studying world art, actively exhibits his works at local and European exhibitions. After receiving a gold medal from the Paris Council of Academies, he returned to his homeland, where he received the title of “academician” and was sent to the Main Naval Headquarters with the task of painting several paintings with different Baltic views. Participation in battle operations helped the already famous artist to write one of the most famous masterpieces - “” in 1848.

Two years later, the painting “” appeared - the most striking event that cannot be missed, even when describing the shortest biography of Aivazovsky.

The fifties and seventies of the nineteenth century became the brightest and most fruitful in the painter’s career; Wikipedia describes this period of Aivazovsky’s biography quite extensively. In addition, during his life, Ivan Konstantinovich managed to become known as a philanthropist involved in charity work, and made a huge contribution to the development of his native city.

At the first opportunity, he returned to Feodosia, where he built a mansion in the style of an Italian palazzo and exhibited his canvases to the audience.

Aivazovsky Feodosia

Ivan Konstantinovich at his dawn creative life neglected the opportunity to be close to the king's court. At the Paris World Exhibition his works were awarded a gold medal, and in Holland he was awarded the title of academician. This did not go unnoticed in Russia - twenty-year-old Aivazovsky was appointed artist of the Main Naval Staff, and he received a government order to paint panoramas of Baltic fortresses.

Aivazovsky fulfilled the flattering order, but after that he said goodbye to St. Petersburg and returned to Feodosia. All the officials and the capital's painters decided that he was an eccentric. But Ivan Konstantinovich was not going to exchange his freedom for a uniform and the carousel of St. Petersburg balls. He needed the sea, a sunny beach, streets, he needed sea air for creativity.

One of the city's attractions is the Aivazovsky fountain in Feodosia in the Kirovsky district, to which a water supply has been installed. The fountain was built with the artist’s money and according to his design, and then donated to the residents.

Unable to continue to remain a witness terrible disaster, which the population of my hometown experiences from lack of water year after year, I give them 50,000 buckets per day as their eternal ownership clean water from the Subash source that belongs to me.

The artist loved Theodosia fiercely. And the townspeople responded to him with kind feelings: they called Ivan Konstantinovich “father of the city.” They say that the painter loved to give drawings: paintings by Aivazovsky in Feodosia, many residents unexpectedly ended up in their homes as precious gifts.

Water from the artist’s estate came to Feodosia, traveling a 26-kilometer route through a pipeline built by the city.

He opened an art gallery, library, and drawing school in his hometown. And he also became godfather half of the babies of Feodosia, and allocated a particle from his substantial income to each.

In the life of Ivan Konstantinovich there were many contradictions that did not complicate his life, but made it original. He was Turkish by origin, Armenian by upbringing, and became a Russian artist. He communicated with Berillov and his brethren, but he himself never went to their parties and did not understand the bohemian lifestyle. He loved to give away his works, and in everyday life he was known as a pragmatic person.

Museum of Antiquities, built by Ivan Konstantinovich Aivazovsky

Aivazovsky Museum in Feodosia

The Aivazovsky Gallery in Feodosia is one of the oldest museums in the country. Located in the house in which the outstanding marine painter lived and worked. The building was designed personally by Ivan Konstantinovich and built in 1845. Thirty-five years later, Aivazovsky created a large hall attached to it. This room is intended to display his paintings before the paintings were sent to exhibitions in other cities and abroad. 1880 is considered the year of the official foundation of the museum. Feodosia Aivazovsky Gallery address: st. Golereynaya, 2.

During the war, the building was destroyed by a ship's shell.

At the time of the artist, the place was famous far abroad and was unique cultural center in the city. After the painter's death, the gallery continued to operate. By the will of the artist, it became the property of the city, but local authorities cared little about it. The year 1921 can rightfully be considered the second birth of the gallery.

In the 19th century, Aivazovsky's art gallery in Feodosia stood out among other architectural structures in the area. The museum stands on the very seashore and resembles an Italian villa. This impression is even stronger when you notice the dark red paint on the walls, the sculptures of ancient gods in the bays, and the gray marble pilasters that run around the façade. Such features of the building are unusual for Crimea.

Aivazovsky's house, which became an art gallery after his death

When designing a house, the artist thought out the purpose of each room. This is why the reception rooms are not adjacent to the living section of the house, while the artist's room and studio were connected to the exhibition hall. High ceilings, parquet floors on the second floor and the bays of Feodosia visible from the windows create an atmosphere of romanticism.

My sincere desire is that the building of my art gallery in the city of Feodosia, with all the paintings, statues and other works of art in this gallery, be the full property of the city of Feodosia, and in memory of me, Aivazovsky, I bequeath the gallery to the city of Feodosia, my native city.

The center of Feodosia's art gallery are 49 canvases left by the painter to the city. In 1922, when the museum opened its doors to Soviet people, only these 49 canvases were in the collection. In 1923, the gallery received 523 paintings from the collection of the artist's grandson. Later the works of L. Lagorio and A. Fessler arrived.

The legendary painter died on April 19 (old style) 1900. He was buried in Feodosia, in the courtyard of the medieval Armenian church of Surb Sarkis (St. Sarkis).

Aivazovsky Ivan Konstantinovich

A Ivazovsky, Ivan Konstantinovich, professor of painting, the best Russian marine painter. Born on July 17, 1817 in Feodosia, died on April 19, 1900. While still a boy, A. attracted attention with his drawings and entered the Academy of Arts as a boarder in 1833. His first teacher in the field of painting “sea views” was Philippe Tonner, from whom he adopted the necessary mechanism for painting water, which he later abandoned. A.'s first work of this kind was “Study of Air over the Sea,” written in 1835, for which he received his first silver medal. Since then, A. devoted himself exclusively to this type of painting. Every year he made a series of trips around the Gulf of Finland and the Black Sea, studying the effects of lighting and the nature of the sea. He was especially helped by his extraordinary artistic memory, which reproduced after a long period of time some spied moment in nature. In 1840, A. went to Italy, and then visited Germany, France, England and Spain. Everywhere his paintings produced an effect, and A.’s fame as a wonderful marine painter was established everywhere. A.’s most important works: “Landing at Subashi’s House” and “View of Sevastopol” (1840); "Neapolitan Night", "Storm" and "Chaos", written by A. in Rome; “The Boat of the Circassian Pirates”, “Quiet on the Mediterranean Sea” and “The Island of Capri”, awarded at the Paris Exhibition of 1843 and giving A. the title of academician; “Views of the Black Sea” and “Monastery of St. George”, for which A. was recognized as a professor in 1847; “The Four Riches of Russia”, which awarded him the Legion of Honor in 1857; “Winter”, “Reeds on the Dnieper”, “A Flock of Sheep During a Hurricane”, “The Flood”, “The Moment of the Creation of the World” (1864), “The Chain of the Caucasus Mountains” (1871). An exhibition of A.'s paintings in Florence (1874) aroused delight, and the Florentine Academy of Arts invited him to paint his portrait for placement in the gallery of the Pitti Palace, where portraits of the most famous artists from the Renaissance are collected. Of the Russian artists, only . During the Russian-Turkish War of 1877, A. painted a series of paintings, and in 1888 there was an exhibition of his new paintings dedicated to various episodes from the life of Columbus. - Cm.