22. To Aivazovsky’s painting “The Battle of Chesme”

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The most beautiful pictures Aivazovsky can be listed and shown, but I want to introduce you to the last painting by Aivazovsky, which was included in the seven wonderful paintings of the artist-painter. In 1848, Aivazovsky produced another oil masterpiece “Chesme Battle” (Chesme Battle on the night of June 25-26, 1770) - the size of the painting is 220 x 188. It is currently in the Feodosia Art Gallery.
The artist showed on canvas one of the most heroic battles in the history of the Russian fleet, which took place on the night of June 25-26, 1770. How accurately he conveys what he did not see himself, but the sailors experienced all this! All around, ships are burning and exploding, masts are bursting into flames, and their debris is flying into the air. Scarlet fire mixes with gray water, just like our Russian sailors mix with Turkish ones. The bright moon looks down on the battle, as if predicting the upcoming victory over the Turkish fleet. But on the canvas above in the clouds, I noticed the face of an old man, or perhaps the Lord himself, calling for calm, as if looking even further into the sky, from where, from behind heavy clouds, the appearance of the moon can be seen, foreshadowing future calm.
The Battle of Chesme is a heroic episode in the history of the war between the Turkish and Russian navies, which was fought during 1768–1774. From June 25 to June 26, 1770, at night, Russian ships managed to “lock in” the Turks and defeat the enemy fleet. During the battle, 11 Russian sailors died heroically, and approximately 10,000 enemy people were killed. This victory is considered unprecedented in the entire history of battles of the Russian fleet.
The artist Ivan Aivazovsky, naturally, did not take part in this heroic battle, but he painted a unique work of art, in which he very well showed the pride and joy of the sailors of the Russian fleet. The canvas was created by the artist in 1848. This is a battle spectacle, imbued with drama and passionate pathos. In this work of painting, the artist showed brilliant skill, unique technique performance, which he studied for many years from K. P. Bryullov. When you first look at the picture, you feel the joyful excitement of the brilliant fireworks. Probably, Aivazovsky was the last artist who was able to so competently present the romantic direction in Russian painting. The painting “Chesme Battle” is located on the most glorious pages of the history of the Russian fleet.
The beauty of the sea is also revealed by the artist in battle scenes with the military sea ​​ships. The paintings of the 1840s are very remarkable: Aivazovsky painted a picture of a major naval battle of a squadron of united Russian ships in alliance with English and French ships with ships of Turkey and Egypt attacking the united squadron - “The Naval Battle of Navarino on October 2, 1827”, 1846; naval battle and attack of Russian ships that drove Swedish ships through the ranks - “Naval Battle of Reval on May 9, 1790”; 1846; a small ship with a few shots decided the outcome of the victory over two strong Turkish ships, “Brig Mercury” - after the victory over two Turkish ships, the ship meets with the Russian squadron, 1892.

Aivazovsky Ivan Konstantinovich

Chesme fight - Aivazovsky. 1848. Oil on canvas. 193 x 183 cm. Museum: Aivazovsky Art Gallery, Feodosia

A recognized master marine painter, the artist, like no one else, knew how to depict the sea in any state and various ships - from a small boat to a huge sailboat. The painting depicts the moment of a naval battle between the Russian fleet and the Turkish one, in which the latter suffered a crushing defeat and lost many ships and its experienced sailors.

The canvas reflects the decisive moment of the night battle, when the Turkish fleet was completely defeated. This is a monstrous and frightening sight - huge ships are burning and sinking like splinters, and the surviving sailors are barely clinging to the remains of the masts and rigging. The incredible power and horror of this battle is emphasized by the highly rising columns of flame, so that it seems that the sea itself is blazing with hellish flames. The flashes of fire are painted so masterfully that it creates the feeling of a painting bursting with heat.

The use of contrasting colors gives the painting depth of perspective and volume. The overall color scheme is very dark and gloomy, which not only corresponds to the tragedy of the event, but is also due to the fact that the battle took place at night, and the smoke and fumes from the ships dying in the fire literally covered the horizon. The sky as such is not visible on the canvas; it is covered with a dense curtain of black mourning smoke, against which the fiery splashes of colors of burning ships and the yellow moon, barely visible under the blanket of smoky puffs, clearly stand out.

In the foreground of the picture you can see a boat crowded with people who have just blown up one of the Turkish ships with their fireship. This explosion caused a huge fire, which soon destroyed almost the entire linear Turkish fleet. On the other side of the canvas, a handful of Turks who survived the battle are trying to escape on the remains of their sunken ship. Their only hope of survival lies in being captured before they drown in the murky waters of the Aegean Sea.

This historical battle allowed Russian troops not only to prevent the Turks from freely moving their ships in this area of ​​the Aegean Sea, but also to establish a blockade of the Dardanelles, which prevented the main forces of the Turkish fleet from entering the Black Sea.

Using such limited color scheme, the artist managed not only to convey the realities of a naval battle, but also to do it so masterfully that the picture looks like a real photo report from the scene historical event, striking the imagination of the modern viewer with the grandeur and danger of naval battles of past eras.

Ivan Aivazovsky’s painting “The Battle of Chesme” was created in 1868. It is the only canvas describing the events of the Chesme Battle. For painting the canvas, the artist was awarded the Catherine Order. The film is included in the “Top 200” list best paintings"according to Maxim magazine.

History of creation

The idea came to Aivazovsky’s mind after a trip he made in 1866. The artist spent the whole year traveling with his wife, Anna. For the first time, the creator came across the dates of the battle, and then decided to study the issue personally. By order of the emperor, the artist was provided with data from the archive. A personal servant was assigned, whose duties included monitoring the artist’s work.

The painting was planned to be delivered by Navy Day. A militaristic policy was beginning in the country, and Aivazovsky’s desire to paint a picture about the Battle of Chesma was received with a bang. After its delivery, the artist received a monetary reward and was assigned to the order that was popular at that time.

Features of the picture

The work was drawn in two stages. The main element was oil. First, the outlines of the ships were created. It was important to preserve their structure while depicting the view historically correctly. On at this stage the work was redrawn twelve times. Aivazovsky could not accurately capture the condition of the masts, and was extremely worried about this.

Then the background was formed. The artist managed to capture the fire and the flame rising to the sky right away.

The artist spent a couple of months painting the image of sailors drifting on the wreckage. The painting was painted in a year and three weeks, after which it was varnished and handed over to the emperor's envoy. The grand opening took place at the Peterhof Palace.

Writing style The picture is painted with short strokes, the brush is turned a couple of centimeters to the left. The base of the tip is used when both middle part

doesn't work. Therefore, a feeling of neat strokes is created, without excessive application of paint. The image of the ships was leveled using a scraper; straight lines were smoothed with a slipway.

Varnishing took place in two stages. First, the emulsion was applied to ships using a mixture with zero hydrogen oxide. The rest was treated with a three percent thinning fluid to give the background a natural look without layering brush strokes.

Ivan Konstantinovich Aivazovsky was a comprehensively educated person and an interesting conversationalist. In his youth, he often visited the house of composer M. I. Glinka, where he performed his own melodies on the violin. Later, two of them were included in Glinka’s opera “Ruslan and Lyudmila”. Russian artist Ivan Konstantinovich Aivazovsky (- Gaivazovsky) was born in Feodosia, in the family of a bankrupt merchant. His father, an Armenian by nationality, was well educated and knew several Eastern languages. As a child, Vanya was interested in music and drawing - he himself composed small musical works and performed them on the violin, and also drew with charcoal.

The parents did not have the opportunity to give the boy a good education. However, Vanya was lucky: the mayor of Feodosia A.I. Kaznacheev noticed Aivazovsky’s talent and took care of his enrollment in the Simferopol gymnasium.

After studying there for two years, in 1833, sixteen-year-old Aivazovsky was admitted to the Imperial Academy of Arts in St. Petersburg, in the class of M. N. Vorobyov.

More than others, Aivazovsky was interested in the theme of the sea. During his studies, the future marine painter even took part in the campaign of the Baltic squadron and studied warships. Returning from his trip, he completed several paintings that were exhibited at the Academy exhibition in 1836.

In them one can notice the influence of the Dutch masters of the 17th century, but the talent young artist no one doubted it anymore. Aivazovsky graduated from the Academy in 1837 with a Great Gold Medal, which gave him the right to travel abroad. However, before this, by decision of the Academy Council, the young artist went to Crimea to paint seascapes. There he not only completed many landscapes and sketches with views of Feodosia, Kerch, Gurzuf, Yalta, and Sevastopol, but also took part in the landing operations of the Black Sea Fleet.

In 1839, he participated in one of the military sea voyages as a painter. The result of his work in Crimea was a number of paintings, of which the most successful can be considered “Moonlit Night in Gurzuf” (1839) and “Sea Shore” (1840).

I.K. Aivazovsky. “Peter I at Krasnaya Gorka, lighting a fire to signal his dying ships,” 1846, Russian Museum, St. Petersburg

In 1840, Aivazovsky, together with other graduates of the academy, came to Italy, where he quickly gained popularity. There he met N.V. Gogol, as well as the artists A.A. Ivanov and the Englishman J. Turner. Aivazovsky visited Rome, Venice, Florence, Naples, studying artistic masterpieces. At this time he completed the following works: “Evening in Venice” (1843, Palace, Pavlovsk); “Shipwreck” (1843, Art Gallery named after I.K. Aivazovsky, Feodosia); “Venice” (1843, Muzalevsky collection); “The Bay of Naples at Night” (1843, I.K. Aivazovsky Art Gallery, Feodosia).

I.K. Aivazovsky. “Battle in the Strait of Chios”, 1848, Art Gallery named after. I.K. Aivazovsky, Feodosia

After Italy, he went to Germany, from there to Holland, then visited France, Switzerland, and visited England, Portugal and Spain. During these trips to European countries, Aivazovsky’s artistic style finally took shape - he did not make preliminary sketches or drawings from nature, being content with only a few pencil sketches, saying that “... 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...” In 1844, twenty-seven-year-old Aivazovsky returned to Russia as a famous academician of the Rome, Paris and Amsterdam Academies of Arts. Immediately after returning to St. Petersburg, he received the title of academician and was assigned to the Main Naval Staff as an artist. Soon Aivazovsky began work on a large order - a series of paintings with views of cities on the Baltic Sea coast.

I.K. Aivazovsky. “Chesme Battle”, 1848, Art Gallery named after. I.K. Aivazovsky, Feodosia

Having completed the order, the master returned to hometown, built his own house and took up creativity. During this period, he painted the canvases “Odessa at Night” (1846, Russian Museum, St. Petersburg), “Evening in the Crimea” (1848, I.K. Aivazovsky Art Gallery, Feodosia).

In 1848, Aivazovsky completed several marines on historical subjects: “The Battle in the Chios Strait”, “The Battle of Chesme”, “The Battle of Navarino” (all in the I.K. Aivazovsky Art Gallery, Feodosiya).

On the canvas “Battle in the Strait of Chios” the artist showed a naval battle taking place during the day. In the foreground there are two ships: on the mast of one a white and blue St. Andrew’s banner flutters, on the mast of the other there is a red flag. In the foreground, a fragment of a mast with a piece of sail is swinging in the greenish waves - apparently, all that remains of the sunken ship. In the background, in the smoke of the battle, you can see several more masts and sails of the remaining ships of the squadron.

In the painting “The Battle of Chesme” the master depicted the feat of Lieutenant Ilyin, who blew up his ship near enemy Turkish ships.

The battle takes place at night - the moon is visible in the sky, partially covered with clouds. Several ships are on fire, soldiers are trying to escape in a boat.

In Aivazovsky’s subsequent works one can notice the strengthening of the traditions of romanticism (“The Ninth Wave”, 1850, Russian Museum, St. Petersburg, etc.).

During the Crimean War of 1853–1856, the artist repeatedly visited besieged Sevastopol. Subsequently, he captured the events he saw on the canvases “Battle of Sinop by Day” and “Battle of Sinop by Night” (both 1853, Naval Museum, St. Petersburg). A few years later, he completed another painting dedicated to the Crimean War: “The Siege of Sevastopol” (1859, I.K. Aivazovsky Art Gallery, Feodosia).

In 1867, the artist painted the canvas “The Island of Crete” (I.K. Aivazovsky Art Gallery, Feodosia), dedicated to the liberation struggle of the Greeks against the Turkish conquerors.

In subsequent years, the master completed several landscapes depicting steppes, farmsteads, and views of the Caucasus. However, despite the fact that the artist worked on them with great diligence, these paintings are still not as expressive as his famous marinas.

In the second half of the 19th century, Aivazovsky continued to paint pictures based on historical subjects. Particularly interesting are the works “The Arrival of Catherine II in Feodosia” (1883); “Black Sea Fleet in Feodosia” (1890); “Brig Mercury attacked by two Turkish ships” (1892); “Napoleon on the Island of St. Helena” (1897), all in the Art Gallery named after. I.K. Aivazovsky, Feodosia).

Aivazovsky lived in Feodosia, but quite often made short trips to other countries. For example, in 1870, he was part of the Russian delegation at the opening of the Suez Canal. Returning to his hometown and using only small sketches and an excellent visual memory, he created the canvas “Suez Canal”.

I.K. Aivazovsky. “Brig Mercury attacked by two Turkish ships,” 1892, Art Gallery. I.K. Aivazovsky, Feodosia

The artist worked until the end of his life. IN last years he performed many magnificent works: “The Black Sea” (1881, Tretyakov Gallery, Moscow); “The ship “Maria” during a storm” (1892, I.K. Aivazovsky Art Gallery, Feodosia), etc.

On the nineteenth of April 1900, in one day he wrote his last piece“The Explosion of the Ship” (Art Gallery named after I.K. Aivazovsky, Feodosia). Aivazovsky died that same night.

In his will, Ivan Konstantinovich Aivazovsky wrote: “My sincere desire is that the building of my art gallery, with all the paintings, statues and other works of art in it, be the complete property of Feodosia, and in memory of me, Aivazovsky, I bequeath the gallery to the city of Feodosia.”

Numerous battle paintings I.K. Aivazovsky (1817 -1900) glorified the heroic sailors who bravely defended their Fatherland. His work helps preserve the memory of the glorious military traditions of the navy.
Great raid in Kronstadt 1836

Aivazovsky depicted all the main battles and victories of the Russian fleet from the moment of its inception. The subjects of his paintings do not form a single sequence chronological order. Perceiving the life of the fleet as something close and joyful, he often created paintings either immediately after the event depicted, or shortly after it, or (which rarely happened), connecting it with some historical date.

Kronshtadt Raid 1839-40



N.N. Raevsky's landing at Subashi 1839


Providing access to the shores of the Baltic Sea could not be achieved without a fleet. Its construction began as soon as Russian troops established themselves on the shores of the Baltic. Russia emerged from the Northern War as a strong maritime power. During the war, military bases were established in Vyborg, Revel and other places.
Revel (Tallinn). 1844


Kronstadt. Fort "Emperor Alexander I" 1844


Sveaborg 1844


Aivazovsky dedicated a number of his paintings to the victories of the Russian fleet in the Northern War. In 1846, the artist wrote battle works dedicated to the naval battles of Reval, Vyborg, and Krasnaya Gorka. But not forgetting that he was a painter of the Main Naval Staff, in 1846 Aivazovsky began painting about the founder of the Russian fleet, Peter I, giving it the title: “Peter I lights a fire at Krasnaya Gorka to signal the fleet.”
Peter I at Krasnaya Gorka...1846


The events depicted by Aivazovsky in the picture are historical, they took place on August 31, 1714.
Naval battle of Reval (May 2, 1790). 1846


Naval battle of Vyborg June 29, 1790 1846


The struggle with Turkey, which began under Peter 1, initially for the possession of access to the Azov and Black Seas, and later for freedom of navigation in the Mediterranean Sea, led to Russian-Turkish war 1768-1774
In 1848, the artist painted the painting “The Battle of Navarino,” which depicts an event that also glorified the Russian fleet.
Battle of Navarino 1846


The combined fleet of the allies (Russians, French, British) entered the Bay of Navarino, where the Turkish-Egyptian fleet was concentrated. After fruitless attempts to negotiate, after the shelling of the allied fleet by Turkish ships and coastal batteries, the Battle of Navarino began in October 1827. Russians battleships, being in the center and taking the main blow of the Turkish-Egyptian forces, skillfully destroyed most of the enemy fleet.
One of famous paintings Aivazovsky - “The battle of the brig “Mercury” with Turkish ships.”
Brig "Mercury" attacked by two Turkish ships 1892


Brig Mercury after defeating two Turkish ships
meets with the Russian squadron 1848


This battle took place on May 14, 1829. The 18-gun brig Mercury, cruising off the coast of the Bosphorus, unexpectedly met with a Turkish squadron. The commander of the brig, captain-lieutenant A.I. Kazarsky decided to engage in battle and, if necessary, explode with one of the enemy ships. Skillfully maneuvering and preventing the enemy from taking advantage of his tenfold superiority in artillery, the brig Mercury inflicted such defeats on the enemy ships that after a 3-hour battle they stopped pursuing.
The Sevastopol epic occupies a very special place in Aivazovsky’s art. Much of what is connected with the Crimean War and especially with the participation of the Black Sea Fleet in it was depicted by Aivazovsky.
Russian squadron on the Sevastopol roadstead 1846


Entrance to Sevastopol Bay 1852


Sevastopol raid 1852


Sinop battle 1853


Sinop. The night after the battle November 18, 1853 1853


Capture of Sevastopol 1855


In October 1853, Türkiye declared war on Russia. In November 1853, a Russian squadron discovered the Turkish fleet in Sinop Bay. The Russian fleet approached and started a battle from the closest range. The flagship Empress Maria, on which Nakhimov was located, was ahead. By the end of the 4-hour battle, the Turkish squadron and coastal batteries were destroyed.
On October 5, Vladimir Alekseevich Kornilov was mortally wounded on Malakhov Kurgan. Later, Aivazovsky painted the painting “Malakhov Kurgan - the place where Admiral Kornilov was mortally wounded.”
Malakhov Kurgan 1893


This painting depicts a panorama of Sevastopol, opening from the heights of the Malakhov Kurgan. In the foreground you can see a kind of monument - a cross made of cannonballs at the site of V.A.’s fatal wound. Kornilov. At the monument are two veterans of the defense of Sevastopol. They came to this mound, sacred to every Russian, where their beloved commander was mortally wounded.
Arriving in besieged Sevastopol in 1854, the artist saw above the water only the tops of the masts of many ships of the Black Sea Fleet, which with their hulls blocked the entrance to the Sevastopol Bay of the enemy fleet. He captured this view in the painting “The Siege of Sevastopol.”
Siege of Sevastopol 1859


Artist before last days served the fleet throughout his life, glorifying its glorious victories and the heroism of Russian sailors. The last painting, which Aivazovsky began working on on the day of his death, was also dedicated to the Russian fleet. It depicts a combat episode - "The Explosion of a Turkish Ship".
Explosion of the ship (last unfinished work) 1900


Aivazovsky's battle paintings are in many naval museums and art galleries. But the largest collection of Aivazovsky’s works is in the Feodosia Art Gallery, where more than 400 paintings by the painter are exhibited. All these paintings are a chronicle of the military exploits of the Russian fleet.
Ship "Twelve Apostles" 1897


Review of the Black Sea Fleet in 1849
(The last highest review of the Black Sea Fleet by Emperor Nicholas) 1886


The Black Sea Fleet before the Crimean War on the Feodosia roadstead in 1890


The art of depicting the sea was brought by I.K. Aivazovsky is world famous. And it is no coincidence that on the grave of the marine painter, who was buried with full military honors - an unprecedented phenomenon at that time - it is written:
“Born mortal, he left behind immortal glory!”