The message about Aivazovsky. Biography
Already during his lifetime, the fame of the famous artist Ivan Aivazovsky swiftly and widely surrounded him with real world fame. Since 1846, one hundred twenty of his personal exhibitions have been held abroad and in Russia. Aivazovsky Ivan Konstantinovich was an honorary member of European art academies: Rome, Amsterdam, Paris, Florentine and others. The Florentine Academy invited him to write a self-portrait (previously, only Kiprensky was awarded such an honor from among Russian artists).
Chaos. 1838. Oil on cardboard
Pope expressed a desire to purchase his painting "Chaos" for the Vatican
Moonlight night In Cyprus. 1871. Oil on canvas. 28x40
And the famous artist from England, admired by Aivazovsky's work, William Turner, dedicated poems in Italian to the painting "Moonlit Night".
View of the seaside in the vicinity of St. Petersburg
1835. Oil on canvas.
The list of successes can be continued indefinitely, because, according to one of Aivazovsky's biographers, his life was “one of the happiest human lives”, “real a fairy tale eventful and beautiful, like a wonderful, captivating dream. " Indeed, the fate of the artist, who was born in 1817 in the seaside Feodosia, was extremely successful, although it began in a rather peculiar way. His childhood drawings on the fences of the historic port city of Feodosia attracted the attention and interest of the Tauride governor A.I. Kaznacheev, who helped Aivazovsky enter the St. Petersburg Academy of Arts, where very soon Nicholas I himself became his admirer and patron.
The road to Ai-Petri. 1894. Oil on canvas. 41.5x59.5
Nevertheless, the artist looked a little like a fairy magician with a magic wand. One of the most important components of Aivazovsky's success was exceptional efficiency and productivity. Throughout his life, Ivan Konstantinovich Aivazovsky created about six thousand canvases. Anticipating practice modern masters from "high fashion houses", the artist Aivazovsky acted as a large company that has an exclusive for the rich, has mass production, as well as something for those who want to have a splinter of a famous name, but do not have a lot of money for this. In addition to his large and medium-sized canvases, there was also a so-called "gift" version, which was a photographic card of the maestro behind an easel, where instead of a picture, a canvas the size of a postage stamp was inserted or glued into a frame, but with the same initial "A" in the corner.
Dante points out to the artist extraordinary clouds.
1883. Oil on canvas.
Such a huge number of paintings could be painted if only you had the skills of the quick writing technique. This speed was legendary. It is known, for example, that the huge canvas "Moment of the Universe" (1864), a version of the repetition of "Chaos", was written in one day. Aivazovsky himself somewhat flaunted his capabilities and even occasionally showed admirers the creative process as a kind of trick: he began to paint a picture from a blank canvas and, in front of the amazed viewers, completely finished it in an hour or two. So, in the presence of General A.P. Ermolov within about two hours was created "View of the Caucasian rocks off the coast of the Black Sea."
Sheep in the pasture. 1850s. Canvas, oil. 60x89.5
The speed of work was facilitated by the amazing memory of Aivazovsky. It is known that at the beginning creative path Ivan Aivazovsky tried to paint landscapes from nature: it came out long and boring, while the views written from memory turned out to be fresh and emotional. Therefore, the artist very quickly gave up working on natural sketches and sketches, making only cursory sketches in the album. Such a system presupposed the utmost concentration and concentration of attention.
Italian landscape. Evening
1858. Oil on canvas.
The need to write from memory received a theoretical basis from Aivazovsky. Aivazovsky was often copied and faked. The antiques market is awash with fake Aivazovskys. And although the plot and the external features of the artist's manner are easily accessible to copyists, the secrets of his rather sophisticated technology remain hidden from them, and his confident skill is inaccessible. The imitators of Aivazovsky are especially far from his professional accuracy in depicting the equipment of ships. In the summer of 1838, young Ivan Konstantinovich took part in the maneuvers of the navy off the coast of the former possession of the Dadiani - Mingrelia. At that time he met the vice - admiral of the Russian fleet, the hero of the Crimean war V.A.Kornilov, the Russian naval commander and navigator, Admiral M.P. Lazarev and an excellent sailor, who considered the service in the navy the only meaning and purpose of his life - Admiral P.S. Nakhimov. They eagerly explained to the painter how the ships are arranged. His knowledge of how a ship rolls in the wind, sinks or burns was accurate, not approximate. Even the secret details of the designs of Russian warships of that time were familiar to him. In the house of Aivazovsky in Feodosia, a rich collection of sailboat models was collected, and the artist experienced the death of the Russian fleet during the unsuccessful Crimean campaign as a personal grief.
Landscape with a sailboat. 1855.
Paper, papier-pele, graphite and Italian pencils, scratching.
As a vast legacy, Aivazovsky presented all mankind with portraits, and genre painting, and plain landscapes, and compositions on biblical themes. However, his work remained highly specialized. "Land" Aivazovsky, as a rule, was much inferior to his own seascapes... The main merit of Aivazovsky can be considered the laying of the foundation for the development of a motive, which before him did not pay special attention to Russian artists and was thoroughly forgotten by Western European masters - the sea as a self-sufficient element, the sea as a theme. In the 19th century, artists mainly painted the sea off the coast. "Aivazovsky ... works soon, but well: he exclusively deals with marine species, and since there is no artist of this kind here (in Italy), he was glorified and praised," Alexander Ivanov explained the reason for Aivazovsky's tremendous success.
The ninth wave. 1850. Oil on canvas
The brilliant artist did not change the found theme all his life, developing it with unflagging enthusiasm. The sea has acquired the meaning of a symbol, an all-embracing metaphor. It is the arena of action for both recent historical dramas and events in biblical history. As a metaphor for poetic inspiration (it is not for nothing that Pushkin, Dante, Sappho appear in the paintings against the background of the sea), its sea is associated with quotations from the school anthology: from "A lonely sail is whitening ..." to "Farewell, free element ..." poetry seems to reinforce, support the landscapes of the seascape. The Aivazovsky Sea is also a metaphor for human life, the vicissitudes of fate (analogous to the medieval wheel of fortune). No wonder Kramskoy introduces the image of one of Aivazovsky's best works - "The Black Sea" - into his painting "Inconsolable Grief" - as a sign of fate with its ups and downs.
Rainbow. 1873. Oil on canvas
As a true romantic, Ivan Konstantinovich needed a huge scale, he was attracted by nature itself with its sensations: floods, waterfalls, storms, crashes. The artist has forever preserved in his soul the shock received from Karl Bryullov's "The Last Day of Pompeii". The secret of the influence of Aivazovsky's canvases is in the direct emotional connection of the viewer. In his best works - "The Ninth Wave", "Black Sea", "Rainbow", "Among the Waves" - the sea is surprisingly real.
Storm on the Arctic Ocean. 1864. Oil on canvas
I recall the horror of the first viewers of the cinema, who were frightened by the sight of the train rushing towards, forcing them to bow their heads. Also, the hearts of his contemporaries sank in front of Aivazovsky's paintings: what if it covered, and if you choke, and if you drown? The feelings of innocent spectators were perfectly described in his letter to the artist by General A.P. Ermolov. From the words of this letter it is clear that Aivazovsky's paintings lead the viewer's feelings into panic fear of the elements of nature, from storms and waves, not finding salvation from destruction. But, at the same time, his other masterpieces make the amazed viewer spend an unforgettable, fabulous and delightful night on the shore, enjoying the calmness of the sea under the light of a fantastic moon.
Foggy morning in Italy. 1864. Oil on canvas
Indeed, Aivazovsky loved to work in contrast: a formidable storm, a cold wind and - the gentle peace of the hour before sunset or the silence of the night. Often he made paired paintings of the same size with the opposite mood, for example, from the collection of the Feodosia Art Gallery, which bears his name - "A Storm on the Arctic Ocean" and "Foggy Morning in Italy."
Explosion of the Arcadion Monastery. 1867. Oil on canvas.
The social temperament of the artist is also striking. He was a true benefactor of his land: at his own expense he rebuilt an archaeological museum, a concert hall in his beloved seaside Feodosia, financed archaeological excavations, founded the Feodosia gallery of paintings and a library, organized art school called "General Workshop".
Sheep driven into the sea by the storm.
Sketch. Fragment. 1861. Oil on canvas.
V creative life genius Aivazovsky there are paradoxes. He was a Russian artist, although he was an Armenian by upbringing and a Turk by birth. All his life he wrote "free elements", was considered the greatest master of late romanticism - and was the most beloved brilliant artist Nicholas I. He wore a uniform as a "painter of the General Naval Staff." Communicated with Bryullom and his "brothers", but did not like to participate in their revelry and generally did not accept the bohemian way of life. The romanticism of Aivazovsky's work coexisted without conflict with pragmatism and practicality in life. As a result, his personality was overgrown with real and invented anecdotes with elements of farce. Quite indicative is the case of Aivazovsky's flock of sheep. Frightened by the storm, the sheep rushed into the sea from the cliff and died. Then Aivazovsky wrote a picture on this subject, successfully sold it and bought a new herd with the proceeds.
Ships in the stormy sea. Sunrise. 1871.
Canvas, oil.
Aivazovsky Ivan Konstantinovich lived a long and interesting life(he died in 1900), combining two eras, two halves of the 19th century. He had a chance to personally communicate with Pushkin, Bryullov and Kramskoy. Before his eyes, the political situation was changing, aesthetic trends were born and died. But they didn't seem to touch him. His sea is stormy and agitated, his sailing ships are fluttered by the wind and smashed into chips by a storm, but he himself is unshakable like a rock. Incredibly popular during his lifetime, Aivazovsky and for modern viewers of our time causes genuine delight among viewers, museums, auctions and private collectors "hunt" for his works. On the international art market, Aivazovsky is one of the most valued and expensive Russian painters.
Among the famous marine painters of all times and peoples, it is difficult to find someone who could more accurately than Aivazovsky convey the majestic power and attractive charm of the sea. This greatest painter of the 19th century left us a unique legacy of canvases capable of instilling love for the Crimea and a passion for travel to anyone who has never even been to the seashore. In many ways, the secret is concealed by the biography of Aivazovsky, 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, it must first be noted that he was born in Feodosia, on July 17, 1817, in a merchant family of Armenian origin.
Father - Gevork (in the Russian version Konstantin) Ayvazyan; I. K. Aivazovsky. Father's portrait |
Mother - Hripsime Ayvazyan. I.K. Aivazovsky. Portrait of mother | Aivazovsky portrayed himself as a boy painting his hometown. 1825 |
At the birth of the boy, they named Hovhannes (this is an Armenian word form male name John), and the modified surname of the future famous artist got thanks to his father, who moved in his youth from Galicia to Moldavia, and then to Feodosia, wrote it down in the Polish manner "Gaivazovsky".
The house in which Aivazovsky spent his childhood stood on the outskirts of the city, on a small hill, from where an excellent view of the Black Sea, the Crimean steppes and ancient burial mounds located on them opened. WITH early years the boy was lucky to see the sea in its various characters (kind and formidable), to watch the fishing feluccas and big ships. The environment awakened the imagination, and very soon the boy's artistic abilities opened up. Local architect Koch gave him the first pencils, paints, paper and the 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
From 1830 Aivazovsky studied at the Simferopol gymnasium, and at the end of August 1833 he went to St. Petersburg, where he entered the Imperial Academy of Arts, the most prestigious at that time, and until 1839 successfully studied the direction of landscape in the class of Maxim Vorobyov.
The very first exhibition in the biography of Aivazovsky, an artist, that brought glory to the young talent at that time, took place in 1835. Two works were presented at it, and one - "Study of air over the sea" - was awarded a silver medal.
Further, the painter devotes himself more and more to new works, and already in 1837 the famous painting "Calm" brought Aivazovsky the Great Gold Medal. In the coming years, his biography, paintings flaunt 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 the biography and work of Aivazovsky: he has been improving his skills for several years, studying world art, actively exhibits his work 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 General 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 canvas "" appeared - the most striking event that cannot be missed, even describing the shortest biography of Aivazovsky.
The fifties and seventies of the nineteenth century became the brightest and most fruitful in the career of a painter; Wikipedia describes this period of Aivazovsky's biography quite extensively. In addition, during his life, Ivan Konstantinovich managed to be known as a philanthropist engaged in charity work, and made a huge contribution to the development of his native city.
At the first opportunity, he returns 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 the dawn of his 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, in Holland they were awarded the title of academician. This did not go unnoticed in Russia - twenty-year-old Aivazovsky was appointed the artist of the General Naval Staff, and he received a government order to paint panoramas of the Baltic fortresses.
Aivazovsky fulfilled his flattering order, but after that he said goodbye to St. Petersburg and returned to Feodosia. All officials and painters from the capital decided that he was an eccentric. But Ivan Konstantinovich was not going to exchange his freedom for a uniform and a merry-go-round 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 is connected. The fountain was built with the artist's money and according to his project, and then donated to the residents.
Not being able to continue to witness the terrible disaster that the population of my hometown suffers from year after year due to lack of water, I give it as eternal property 50,000 buckets of clean water per day from my Subash spring.
The artist loved Feodosia passionately. And the townspeople answered him with kind feelings: they called Ivan Konstantinovich "the father of the city." They say that the painter loved to give drawings: paintings by Aivazovsky in Feodosia, many residents unexpectedly found themselves in their homes as precious gifts.
Water from the artist's estate came to Feodosia, having passed a 26-kilometer path through a pipeline built by the city.
He opened in hometown art gallery, library, drawing school. And he also became the godfather of half of the babies of Feodosia, and each gave a particle of his solid income.
In the life of Ivan Konstantinovich there were many contradictions that did not complicate his life, but made it original. He was a Turk by birth, an Armenian by education, and became a Russian artist. He talked with Berillov and his brothers, but he himself never went to their parties and did not understand the bohemian lifestyle. He loved to donate 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. It is located in the house where the outstanding marine painter lived and worked. The building was personally designed by Ivan Konstantinovich and built in 1845. Thirty-five years later, Aivazovsky created a large hall attached to it. This room is designed 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 - from being hit by a ship's shell.
At the time of the artist, the place was famous far abroad and was unique cultural center in the town. After the death of the painter, the gallery continued to work. By the will of the artist, it became the property of the city, but the local authorities took little care of it. 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 of the area. The museum stands on the very seashore and resembles an Italian villa. This impression is even stronger when the dark red paint on the walls becomes noticeable, sculptures of ancient gods in the coves, as well as gray marble pilasters that run around the façade. Such features of the building are unusual for Crimea.
House of Aivazovsky, which became an art gallery after his death
When designing a house, the artist thinks out the purpose of each room. This is why the reception rooms are not adjacent to the residential section of the house, while the artist's room and studio were connected to the exhibition hall. Lofty ceilings, parquet floors on the second floor and the bays of Feodosia, visible from the windows, create an atmosphere of romanticism.
It is my sincere desire that the building of my picture gallery in the city of Feodosia, with all the paintings, statues and other works of art in this gallery, become the full property of the city of Feodosia, and in memory of me, Aivazovsky, I will bequeath the gallery to the city of Feodosia, my native the city.
The center of Feodosia in the art gallery is 49 canvases left by the painter to the city. In 1922, when the museum opened its doors to Soviet people, there were only these 49 canvases 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 Surb Sarkis (Saint Sarkis).
Ivan Aivazovsky is a genius. His paintings are true masterpieces. And not even from the side of the execution technique. A surprisingly truthful display of the subtle nature of the water element comes to the fore. Naturally, there is a desire to understand the nature of Aivazovsky's genius.
Any piece of fate was a necessary and inseparable addition to his talent. In this article, we will try to open the doors at least a centimeter in wonderful world one of the most famous marine painters in history - Ivan Konstantinovich Aivazovsky.
It goes without saying that world-class painting requires great talent. But marine painters have always stood apart. It is difficult to convey the aesthetics of "big water". The difficulty here, first of all, is that it is on the canvases depicting the sea that the falsity is most clearly felt.
Famous paintings by Ivan Konstantinovich Aivazovsky
The most interesting thing for you!
Family and hometown
Ivan's father was a sociable, enterprising and capable person. For a long time he lived in Galicia, later he moved to Wallachia (modern Moldova). Perhaps for some time he traveled with a gypsy camp, because Konstantin spoke gypsy. Besides him, by the way, this most curious person spoke Polish, Russian, Ukrainian, Hungarian, Turkish.
In the end, fate brought him to Feodosia, which recently received the status of a free port. The city, which until recently had 350 inhabitants, has turned into a lively shopping center with a population of several thousand.
From all over the south Russian Empire cargoes were delivered to the Feodosia port, and goods were sent back from sunny Greece and bright Italy. Konstantin Grigorievich, not rich, but enterprising, successfully engaged in trade and married an Armenian woman named Hripsime. A year later, they had a son, Gabriel. Konstantin and Hripsime were happy and even began to think about changing their homes - the small house, built upon arrival in the city, became cramped.
But soon it began Patriotic War 1812, and after it a plague epidemic came to the city. At the same time, another son was born in the family - Gregory. Konstantin's affairs plummeted, he went bankrupt. The need was so great that almost all the valuables from the house had to be sold. The father of the family took up litigious affairs. His beloved wife helped him a lot - Repsime was a skilled needlewoman and often embroidered all night long in order to later sell her products and support her family.
On July 17, 1817, Hovhannes was born, who became known to the whole world under the name Ivan Aivazovsky (he changed his last name only in 1841, but we will call Ivan Konstantinovich that way now, after all, he became famous as Aivazovsky). This is not to say that his childhood was like a fairy tale. The family was poor and at the age of 10 Hovhannes went to work at a coffee shop. By that time, the elder brother had gone to study in Venice, and the middle one was just getting an education at the district school.
Despite the work, the soul of the future artist really blossomed in the beautiful southern city. Not surprising! Feodosia, despite all the efforts of fate, did not want to lose her brightness. Armenians, Greeks, Turks, Tatars, Russians, Ukrainians - a mixture of traditions, customs, languages created a colorful background of Feodosian life. But the foreground was, of course, the sea. It is it that brings the very flavor that no one will be able to recreate artificially.
The incredible luck of Vanya Aivazovsky
Ivan was very capable child- he learned to play the violin himself and began to draw himself. His first easel was the wall of his father's house; instead of canvas, he was content with plaster, and a brush replaced a piece of coal. The amazing boy was immediately noticed by a couple of prominent benefactors. First, the Feodosia architect Yakov Khristianovich Koh drew attention to the drawings of unusual skill.
He also gave Vanya his first lessons in fine arts. Later, when he heard Aivazovsky playing the violin, the mayor Alexander Ivanovich Kaznacheev became interested in him. A funny story happened - when Koch decided to introduce the little artist to Kaznacheev, he was already familiar with him. Thanks to the patronage of Alexander Ivanovich, in 1830 Vanya entered the Simferopol Lyceum.
The next three years became an important milestone in the life of Aivazovsky. While studying at the Lyceum, he was distinguished from others by an absolutely unimaginable talent for drawing. It was hard for the boy - the longing for his family and, of course, the sea affected. But he kept his old acquaintances and made new ones, no less useful. First, Kaznacheev was transferred to Simferopol, and later Ivan became a member of the house of Natalya Fedorovna Naryshkina. The boy was allowed to use books and prints, he constantly worked, looking for new subjects and techniques. Every day the skill of the genius grew.
Noble patrons of Aivazovsky's talent decided to apply for his admission to the St. Petersburg Academy of Arts, sent the best drawings to the capital. After reviewing them, the President of the Academy Alexei Nikolaevich Olenin wrote to the Minister of the Court, Prince Volkonsky:
“Young Gaivazovsky, judging by his drawing, has an extraordinary disposition to composition, but how, being in the Crimea, he could not be prepared there for drawing and painting, in order not only to be sent to foreign lands and study there without guidance, but even so as to enter the full-time academics of the Imperial Academy of Arts, because on the basis of § 2 of the addition to its regulations, those entering must have at least 14 years.
It's good to draw, at least from the originals, a human figure, to draw orders of architecture and have preliminary information in the sciences, so as not to deprive it of young man chances and methods for the development and improvement of his natural abilities for art, I considered the only means for this to be the highest permission to send him to the academy as a pensioner of His Imperial Majesty with production for his maintenance and other 600 rubles. from the Cabinet of His Majesty so that he was brought here to the state account. "
The permission, which Olenin asked for, was obtained when Volkonsky showed the drawings personally to Emperor Nicholas. July 22 Petersburg Academy of Arts accepted a new student for training. Childhood is over. But Aivazovsky rode to St. Petersburg without fear - he truly felt that the brilliant achievements of the artistic genius were ahead.
Big city - great opportunities
The Petersburg period of Aivazovsky's life is interesting for several reasons at once. Of course, training at the Academy played an important role. Ivan's talent was complemented by such necessary academic lessons. But in this article, I would like to first of all talk about the young artist's social circle. Indeed, Aivazovsky was always lucky to know his acquaintances.
Aivazovsky arrived in St. Petersburg in August. And although he had heard a lot about the terrible St. Petersburg dampness and cold, in the summer, nothing of this was felt. Ivan walked around the city all day. Apparently, the artist's soul filled the longing for the familiar south with beautiful views of the city on the Neva. Especially Aivazovsky was struck by the St. Isaac's Cathedral under construction and the monument to Peter the Great. The massive bronze figure of the first emperor of Russia aroused genuine admiration in the artist. Still would! It was Peter who owed this wonderful city its existence.
His amazing talent and acquaintance with Kaznacheev made Hovhannes a favorite of the public. Moreover, this audience was very influential and more than once helped the young talent. Vorobiev, the first teacher of Aivazovsky at the Academy, immediately understood what kind of talent he got. Undoubtedly, these creative people were also brought together by music - Maxim Nikiforovich, like his student, also played the violin.
But over time, it became obvious that Aivazovsky had outgrown Vorobyov. Then he was sent as an apprentice to the French marine painter Philippe Tanner. But Ivan did not get along with a foreigner in character and because of an illness (either fictitious, or real) left him. Instead, he began working on a series of paintings for the exhibition. And it must be admitted that he created impressive canvases. It was then, in 1835, that he received a silver medal for the work "Study of the air over the sea" and "View of the seaside in the vicinity of St. Petersburg".
But alas, the capital was not only a cultural center, but also the epicenter of intrigue. Tanner complained to his superiors about the rebellious Aivazovsky, they say, why was his student working for himself during his illness? Nikolai I, a well-known adherent of discipline, personally ordered the removal of the young artist's paintings from the exhibition. It was a very painful blow.
Aivazovsky was not allowed to mope - the entire public vehemently opposed the baseless disgrace. Olenin, Zhukovsky, and the court painter Sauerweid petitioned for Ivan's forgiveness. Krylov himself personally came to console Hovhannes: “- What. brother, does the Frenchman offend? E-eh, what is he ... Well, God bless him! Do not be sad!..". In the end, justice prevailed - the emperor forgave the young artist and ordered to issue the award.
Largely thanks to Sauerweid, Ivan was able to complete summer practice on the ships of the Baltic Fleet. Created just a hundred years ago, the fleet was already a formidable force The Russian state... And, of course, for a novice marine painter it was impossible to find a more necessary, useful and enjoyable practice.
It is a crime to write ships without the slightest idea of their structure! Ivan did not hesitate to communicate with the sailors, to carry out minor assignments of officers. And in the evenings he played for the team on his favorite violin - in the middle of the cold Baltic you could hear the enchanting sound of the Black Sea south.
Charming artist
All this time, Aivazovsky did not stop correspondence with his old benefactor Kaznacheev. It was thanks to him that Ivan became a visitor to the houses of Alexei Romanovich Tomilov and Alexander Arkadievich Suvorov-Rymniksky, the grandson of the famous commander. At the Tomilovs' dacha, Ivan even spent summer holidays... It was then that Aivazovsky got acquainted with Russian nature, unusual for a southerner. But the artist's heart perceives beauty in any form. Every day, spent by Aivazovsky in St. Petersburg or the surrounding area, added something new to the outlook of the future maestro of painting.
In the Tomilovs' house, the flower of the then intelligentsia gathered - Mikhail Glinka, Orest Kiprensky, Nestor Kukolnik, Vasily Zhukovsky. Evenings in such company were extremely interesting for the artist. Aivazovsky's older comrades accepted him into their circle without any problems. The democratic tendencies of the intelligentsia and the extraordinary talent of the young man allowed him to take a worthy place in the company of Tomilov's friends. In the evenings, Aivazovsky often played the violin in a special, oriental manner - resting the instrument on his knee or standing it upright. Glinka even included in his opera Ruslan and Lyudmila a small excerpt played by Aivazovsky.
It is known that Aivazovsky knew Pushkin and was very fond of his poetry. The death of Alexander Sergeevich was very painful for Hovhannes, later he specially came to Gurzuf, exactly in the place where he spent time great poet... Meeting with Karl Bryullov was no less important for Ivan. Having recently finished work on the painting "The Last Day of Pompeii", he came to St. Petersburg and each of the students of the Academy passionately wished that Bryullov was his mentor.
Aivazovsky was not a student of Bryullov, but he often communicated with him personally, and Karl Pavlovich noted the talent of Hovhannes. Nestor Kukolnik dedicated a lengthy article to Aivazovsky precisely at the insistence of Bryullov. An experienced painter saw that further education at the Academy would be more of a regression for Ivan - there were no teachers left who could give something new to the young artist.
He suggested to the council of the Academy to shorten the term of Aivazovsky's training and send him abroad. Moreover, the new "Shtil" marina won a gold medal at the exhibition. And this award just gave the right to travel abroad.
But instead of Venice and Dresden, Hovhannes was sent to Crimea for two years. Aivazovsky was hardly happy - he would be at home again!
Relaxation…
In the spring of 1838, Aivazovsky arrived in Feodosia. Finally he saw his family, his beloved city and, of course, the South Sea. Of course, Baltika has its own charm. But for Aivazovsky, it is the Black Sea that will always be the source of the brightest inspiration. Even after such a long separation from family, the artist puts work in the first place.
He finds time to communicate with his mother, father, sisters and brother - everyone is sincerely proud of Hovhannes, the most promising artist in St. Petersburg! At the same time, Aivazovsky is working hard. He paints canvases for hours, and then he goes to the sea, tired. Here he can feel that mood, that elusive excitement that the Black Sea caused in him from an early age.
Soon the retired Kaznacheev came to visit the Aivazovsky. He, along with his parents, rejoiced at the success of Hovhannes and first of all asked to show his new drawings. Seeing the wonderful works, he did not hesitate to take the artist with him on a trip along the southern coast of Crimea.
Of course, after such a long separation it was unpleasant to leave the family again, but the desire to feel the native Crimea outweighed. Yalta, Gurzuf, Sevastopol - everywhere Aivazovsky found material for new paintings. Kaznacheev, who had left for Simferopol, urged the artist to visit, but he again and again upset the benefactor with his refusal - work is above all.
... before the fight!
At this time, Aivazovsky met another wonderful person... Nikolai Nikolaevich Raevsky is a brave man, an outstanding commander, the son of Nikolai Nikolaevich Raevsky, the hero of the defense of the Raevsky battery in the Battle of Borodino. The Lieutenant General took part in the Napoleonic Wars and the Caucasus campaigns.
These two people, unlike at first glance, were brought together by their love for Pushkin. Aivazovsky, who from an early age admired the poetic genius of Alexander Sergeevich, found a kindred spirit in Raevsky. Long exciting conversations about the poet ended quite unexpectedly - Nikolai Nikolaevich invited Aivazovsky to accompany him on a sea voyage to the shores of the Caucasus and watch the landing of the Russian troops. It was an invaluable opportunity to see something new, and even on the so beloved Black Sea. Hovhannes agreed immediately.
Of course, this trip was important in terms of creativity. But even here there were invaluable meetings, which would be a crime to keep silent about. On the steamer "Kolkhida" Aivazovsky met Lev Sergeevich Pushkin, Alexander's brother. Later, when the steamer joined the main squadron, Ivan met people who were an inexhaustible source of inspiration for the marine painter.
Having switched from "Kolkhida" to the battleship "Silistria", Aivazovsky was introduced to Mikhail Petrovich Lazarev. Hero of Russia, participant in the famous Battle of Navarino and discoverer of Antarctica, an innovator and competent commander, he became keenly interested in Aivazovsky and personally suggested that he switch from Colchis to Silistria to study the intricacies of naval affairs that would undoubtedly be useful to him in his work. It would seem much further: Lev Pushkin, Nikolai Raevsky, Mikhail Lazarev - some in their entire lives will not meet even one person of this magnitude. But Aivazovsky has a completely different fate.
Later he was introduced to Pavel Stepanovich Nakhimov, the captain of the Silistria, the future commander of the Russian fleet in the Battle of Sinop and the organizer of the heroic defense of Sevastopol. In this brilliant company, the young Vladimir Alekseevich Kornilov, the future vice-admiral and captain of the famous sailing ship "Twelve Apostles", was not lost at all. Aivazovsky worked these days with a very special passion: the atmosphere was unique. Warm surroundings, the beloved Black Sea and graceful ships that could be explored as much as you wanted.
But now it's time to disembark. Aivazovsky personally wanted to take part in it. At the last moment, they discovered that the artist was completely unarmed (of course!) And he was given a couple of pistols. So Ivan went down into the landing boat - with a briefcase for papers and paints and pistols in his belt. Although his boat was among the first to dock to the shore, Aivazovsky personally did not observe the battle. A few minutes after the landing, a friend of the artist, midshipman Fredericks, was wounded. Not finding a doctor, Ivan himself provides the wounded with assistance, and then on a boat he brings him to the ship. But upon returning to the shore, Aivazovsky sees that the battle is almost over. He does not hesitate a minute to get to work. However, let's give the floor to the artist himself, who described the landing in the magazine "Kievskaya Starina" almost forty years later - in 1878:
“... The coast, illuminated by the setting sun, the forest, the distant mountains, the fleet at anchor, the boats scurrying along the sea, maintain communication with the coast ... Having passed the forest, I went out into the clearing; Here is a picture of the rest after a recent military alert: groups of soldiers, officers sitting on drums, the corpses of the dead and their Circassian carts who came to clean up. Unfolding the briefcase, I armed myself with a pencil and began to sketch one group. At this time, some Circassian unceremoniously took my briefcase from my hands, carried it to show my drawing to his own. Whether the highlanders liked him - I don't know; I only remember that the Circassian returned the drawing soiled in blood ... This "local flavor" remained on it, and for a long time I cherished this tangible memory of the expedition ... ".
What words! The artist saw everything - the coast, the setting sun, the forest, the mountains and, of course, the ships. A little later, he wrote one of his best works, "Landing at Subashi's." But this genius was in mortal danger during the landing! But Fate saved him for further achievements. During his vacation, Aivazovsky still had a trip to the Caucasus, and hard work on transforming sketches into real canvases. But he coped with the honor. As always, however.
Hello Europe!
Returning to St. Petersburg, Aivazovsky received the title of artist of the 14th grade. Studying at the Academy ended, Hovhannes outgrew all his teachers and he was given the opportunity to travel around Europe, of course, with state support. He left with a light heart: earnings allowed him to help his parents, and he himself lived quite comfortably. And although at first Aivazovsky had to visit Berlin, Vienna, Trieste, Dresden - most of all he was drawn to Italy. There was the beloved South Sea and the elusive magic of the Apennines. In July 1840, Ivan Aivazovsky with his friend and classmate Vasily Sternberg went to Rome.
This trip to Italy was very useful for Aivazovsky. He got a unique opportunity to study the works of great Italian masters. For hours he stood by the canvases, copied them, trying to understand the secret mechanism that made the creations of Raphael and Botticelli masterpieces. I tried to visit many interesting places, for example, the house of Columbus in Genoa. And what landscapes he found! The Apennines reminded Ivan of his native Crimea, but with its own, different charm.
And there was no feeling of kinship with the land. But how many opportunities for creativity! And Aivazovsky always used the opportunities provided to him. A remarkable fact speaks volumes about the level of the artist's skill: the Pope himself wanted to buy the painting "Chaos". Someone who, but the pontiff is used to getting only the best! The quick-witted artist refused to pay, simply donating "Chaos" to Gregory XVI. Dad did not leave him without an award, having presented him with a gold medal. But the main thing is the effect of a gift in the world of painting - the name of Aivazovsky thundered throughout Europe. For the first, but far from the last time.
In addition to work, however, Ivan had another reason to visit Italy, more specifically Venice. It was there, on the island of St. Lazarus' brother Gabriel lived and worked. While in the rank of archimandrite, he studied research work and teaching. The brothers' meeting was warm, Gabriel asked a lot about Feodosia and his parents. But they soon parted. The next time they will meet in Paris will be in a few years. In Rome, Aivazovsky met Nikolai Vasilyevich Gogol and Alexander Andreyevich Ivanov. Even here, in a foreign land, Ivan managed to find the best representatives of the Russian land!
In Italy, exhibitions of paintings by Aivazovsky were also held. The audience invariably came into admiration and was keenly interested in this young Russian, who managed to convey all the warmth of the south. Increasingly, they began to recognize Aivazovsky on the streets, come to his workshop and order work. “Gulf of Naples”, “View of Vesuvius on a Moonlit Night”, “View of the Venetian Lagoon” - these masterpieces were the quintessence of the Italian spirit passed through the soul of Aivazovsky. In April 1842, he sent part of the paintings to Petrburg and notifies Olenin of his intention to visit France and the Netherlands. Ivan no longer asks for permission to travel - he has enough money, he loudly declared himself and will be warmly received in any country. He asks for only one thing - that his salary be sent to his mother.
Aivazovsky's paintings were presented at an exhibition in the Louvre and impressed the French so much that he was awarded the gold medal of the French Academy. But he did not limit himself to France alone: England, Spain, Portugal, Malta - wherever one could see the sea so dear to his heart, the artist visited. The exhibitions were a success, and Aivazovsky was unanimously showered with compliments from critics and inexperienced visitors. There was no longer a shortage of money, but Aivazovsky lived modestly, giving himself up to work to the fullest.
Artist of the Main Naval Staff
Not wanting to drag out his voyage, in 1844 he returned to St. Petersburg. On July 1, he was awarded the Order of St. Anna, 3rd degree, and in September of the same year, Aivazovsky received the title of Academician of the St. Petersburg Academy of Arts. In addition, he is ranked among the Main Naval Staff with the right to wear a uniform! We know with what reverence sailors treat the honor of uniforms. And here it is a civilian, and even an artist!
Nevertheless, this appointment was welcomed at the Headquarters, and Ivan Konstantinovich (you can already call him that - a world-renowned artist after all!) Enjoyed all the possible privileges of this position. He demanded drawings of ships, ship guns were fired for him (so that he could better see the trajectory of the nucleus), Aivazovsky even participated in maneuvers in the Gulf of Finland! In a word, he did not just serve a number, but worked diligently and with desire. Naturally, the canvases were also up to par. Soon, Aivazovsky's paintings began to adorn the emperor's residences, the houses of the nobility, state galleries and private collections.
The next year was very busy. In April 1845, Ivan Konstantinovich was included in the Russian delegation, which was heading to Constantinople. Having visited Turkey, Aivazovsky was struck by the beauty of Istanbul and the beautiful coast of Anatolia. After a while, he returned to Feodosia, where he bought a land plot and began to build his house-workshop, which he personally designed. Many do not understand the artist - the sovereign's favorite, a popular artist, why not live in the capital? Or abroad? Feodosia is a wild wilderness! But Aivazovsky does not think so. He arranges an exhibition of his paintings in a newly built house, on which he works day and night. Many guests noted that despite the seemingly domestic conditions, Ivan Konstantinovich had grown thin and pale. But, in spite of everything, Aivazovsky finishes his work and goes to St. Petersburg - he is still a service man, you cannot treat this irresponsibly!
Love and war
In 1846, Aivazovsky arrived in the capital and stayed there for several years. The reason for this was the permanent exhibitions. At intervals of six months, they took place in St. Petersburg, then in Moscow in completely different places, sometimes in cash, then free. And at every exhibition there was necessarily the presence of Aivazovsky. He received thanks, came to visit, accepted gifts and orders. Free time in this hustle and bustle was rarely given. One of the most famous paintings- "The Ninth Wave".
But it is worth noting that Ivan still went to Feodosia. The reason for this was of paramount importance - in 1848 Aivazovsky got married. Suddenly? Until the age of 31, the artist did not have a sweetheart - all his emotions and experiences remained on the canvases. And then there was such an unexpected step. However, southern blood is hot, and love is an unpredictable thing. But even more surprising is the chosen one of Aivazovsky - a simple servant Julia Grace, an Englishwoman, the daughter of a life-doctor who served Emperor Alexander.
Of course, this marriage did not go unnoticed in the secular circles of St. Petersburg - many were surprised at the artist's choice, many openly criticized him. Tired, apparently, of close attention to his personal life, Aivazovsky and his wife left home in the Crimea in 1852. An additional reason (or maybe the main one?) Was that first daughter - Elena, was already at the age of three, and second daughter - Maria, recently celebrated a year. In any case, Theodosius Theodosius was waiting for Aivazovsky.
At home, the artist tries to organize an art school, but is refused funding from the emperor. Instead, he and his wife begin archaeological excavations. In 1852, the family is born third daughter - Alexandra... Ivan Konstantinovich, of course, does not leave work on paintings either. But in 1854, a landing party landed in the Crimea, Aivazovsky hastily takes his family to Kharkov, and he himself returns to besieged Sevastopol to his old acquaintance Kornilov.
Kornilov orders the artist to leave the city, saving him from possible death. Aivazovsky obeys. The war soon ends. For everyone, but not for Aivazovsky - he will paint some more brilliant pictures on the theme of the Crimean War.
The following years pass in confusion. Aivazovsky regularly travels to the capital, deals with the affairs of Feodosia, goes to Paris to meet with his brother, opens the same art school. Born in 1859 fourth daughter - Jeanne... But Aivazovsky is constantly busy. Despite traveling, creativity is the most time-consuming. During this period, paintings on biblical themes, battle canvases were created, which regularly appear at exhibitions - in Feodosia, Odessa, Taganrog, Moscow, St. Petersburg. In 1865, Aivazovsky received the Order of St. Vladimir, 3rd degree.
Admiral Aivazovsky
But Julia is unhappy. Why does she need orders? Ivan ignores her requests, she does not receive due attention and in 1866 refuses to return to Feodosia. The breakup of the family Aivazovsky was going through hard, and in order to get distracted, everything goes to work. He paints, travels around the Caucasus, Armenia, devotes everything free time students of his art academy.
In 1869, he went to the opening, in the same year he arranged another exhibition in St. Petersburg, and the next year he received the title of actual state councilor, which corresponded to the rank of admiral. A unique case in Russian history! In 1872 he will have an exhibition in Florence, for which he has been preparing for several years. But the effect exceeded all expectations - he was elected an honorary member of the Academy of Fine Arts, and his self-portrait adorned the gallery of the Pitti Palace - Ivan Konstantinovich stood on a par with the best artists in Italy and the world.
A year later, having arranged another exhibition in the capital, Aivazovsky leaves for Istanbul at the personal invitation of the Sultan. This year turned out to be fruitful - 25 canvases were written for the Sultan! A sincerely admired Turkish ruler bestows the Osmaniye Order of the second degree on Peter Konstantinovich. In 1875, Aivazovsky left Turkey and went to St. Petersburg. But on the way, he stops by in Odessa - to see his wife and children. Realizing that there is no need to expect warmth from Julia, he invites her, along with her daughter Zhanna, to go to Italy next year. The wife accepts the offer.
During the trip, the couple visit Florence, Nice, Paris. Julia is pleased to appear with her husband at social receptions, while Aivazovsky considers this to be secondary and devotes all his free time to work. Realizing that the former marital happiness cannot be returned, Aivazovsky asks the church to break off the marriage and in 1877 his request is satisfied.
Returning to Russia, he travels to Feodosia with his daughter Alexandra, son-in-law Mikhail and grandson Nikolai. But the children of Aivazovsky did not have time to settle down in a new place - another Russian-Turkish war began. The following year, the artist sent his daughter with her husband and son to Feodosia, and he himself went abroad. For two whole years.
He will visit Germany and France, visit Genoa again, prepare paintings for exhibitions in Paris and London. Constantly looking for promising artists from Russia, sending petitions to the Academy about their content. Painfully he took the news of his brother's death in 1879. In order not to be depressed, he went to work out of habit.
Love in Feodosia and love for Feodosia
Returning to his homeland in 1880, Aivazovsky immediately went to Feodosia and began construction of a special pavilion for an art gallery. He spends a lot of time with his grandson Misha, walking with him for a long time, neatly instills an artistic taste. Aivazovsky devotes several hours every day to the students of the art academy. He works with inspiration, with an extraordinary enthusiasm for his age. But he also demands a lot from students, is strict with them, and few can withstand the study of Ivan Konstantinovich.
In 1882, the incomprehensible happened - the 65-year-old artist married a second time! 25-year-old became his chosen one Anna Nikitichna Burnazyan... Since Anna was recently widowed (in fact, it was at her husband's funeral that Aivazovsky drew attention to her), the artist had to wait a little before proposing marriage. January 30, 1882 Simferopol St. Church of the Assumption, “the actual state councilor IK Aivazovsky, divorced by decree of the Echmiadzin sinoid of May 30, 1877 N 1361 with his first wife from legal marriage, entered into legal marriage for the second time with the wife of the Theodosian merchant, widow Anna Mgrtchyan Sarsizova, both Armenian-Gregorian confession ”.
Soon the couple went to Greece, where Aivazovsky again works, including painting a portrait of his wife. In 1883, he constantly wrote letters to the ministers, defending Feodosia and in every possible way proving that its location was the best suited for the construction of a port, and a little later he petitioned to replace the city priest. In 1887, an exhibition of paintings by the Russian artist was held in Vienna, to which, however, he did not go, remaining in Feodosia. Instead, he devotes all his free time to creativity, his wife, students, and builds an art gallery in Yalta. The 50th anniversary of the artistic activity of Aivazovsky was celebrated with pomp. The entire high society of St. Petersburg came to greet the professor of painting, who has become one of the symbols of Russian art.
In 1888, Aivazovsky received an invitation to visit Turkey, but did not go for political reasons. Nevertheless, he sends several dozen of his paintings to Istanbul, for which the Sultan awards him in absentia the Medjidie Order of the First Degree. A year later, the artist and his wife went to a personal exhibition in Paris, where he was awarded the Order of the Foreign Legion. On the way back, the married couple still stops in Istanbul, so beloved by Ivan Konstantinovich.
In 1892 Aivazovsky turns 75. And he goes to America! The artist plans to refresh his impressions of the ocean, see Niagara, visit New York, Chicago, Washington and present his paintings at the World Exhibition. And all this is in the eighth ten! Well, sit yourself in the rank of state councilor in your native Feodosia, surrounded by grandchildren and a young wife! No, Ivan Konstantinovich perfectly remembers why he rose so high. Hard work and fantastic dedication - without this, Aivazovsky will cease to be himself. However, he did not stay in America for a long time and returned home the same year. Came back to work. Such was Ivan Konstantinovich.
> Artist biographies
Brief biography of Ivan Aivazovsky
Aivazovsky Ivan Konstantinovich - a world famous marine painter; activist, philanthropist and talented mentor. Aivazovsky was the most famous Russian artist of Armenian origin. Born on July 17, 1817 in the city of Feodosia, located on the Crimean peninsula. The father of the future marine painter was a successful entrepreneur, but later went bankrupt. Aivazovsky's brother was an outstanding Armenian historian and archbishop.
Despite the wobbly financial situation in the family, Aivazovsky managed to enter the Simferopol gymnasium, after which he continued his studies at the St. Petersburg Academy of Arts. Thanks to his natural talent, he studied at public expense. He was especially good at naval battle scenes, which could not go unnoticed. The first painting by Aivazovsky was presented at the exhibition of the Academy in 1835 and immediately earned accolades.
The works created in the following years brought the seascape painter a gold medal. When the artist returned to Crimea in 1838, he was given the task of painting the landscapes of the peninsula. In the works of this period, not only sea scenes are captured, but also scenes of battle painting. During this period, he was fortunate enough to meet such military leaders as Kornilov and Nakhimov. In 1840 he was sent to Europe with a new assignment. There he not only worked fruitfully, but also studied classical art. The young artist was awarded a medal by the Paris Council of Academies.
After returning to Russia, he was awarded the title of academician. The years from 1848 to 1850 were the most fruitful in terms of art. It was during this period that Ivan Konstantinovich painted his famous paintings "The Battle of Chesme" and "The Ninth Wave". The sea in these works appeared as a mighty element. He was the only one who knew how to turn her into life's beauty. Moreover, such famous artists like Bogaevsky, Lagorio, Kuindzhi.
As a legacy to the next generations, he left an archaeological museum and an art gallery. The artist died in the spring of 1900. Until the last days he did not let go of his brush and shortly before his death he finished the work "Sea Bay". The marine painter was buried in his native Feodosia in the courtyard of the Armenian church.
Ivan Constantinovich Aivazovski was born on July 17, 1817 in the city of Feodosia.
Father - Konstantin Grigorievich Aivazovsky (1771-1841). In his youth he moved from Galicia to the Danube principalities (Moldavia, Wallachia), where he engaged in trade, from there to Feodosia; knew several languages. Before moving to Feodosia, he was named Kaitan Aivaz. After moving to Feodosia, he took the name Konstantin-Gevork. And the surname from Ayvaz or Gayvaz (the Armenian letter “h” is translated into Russian as “a” or “g”) was changed to Gayvazovsky. After 1840, the surname began to be written as Aivazovsky.
Mother - Hripsima (1784-1860). Armenian by origin. There is no more detailed reliable information.
On July 17 (29), 1817, a priest of the Armenian church in the city of Feodosia made a note that Konstantin (Gevorg) Gayvazovsky and his wife Hripsime gave birth to Hovhannes, the son of Gevorg Ayvazyan.
After graduating from the Feodosia district school, with the help of Alexander Kaznacheev (senator, actual privy councilor, in 1829-37, the head of the Tauride province), he was enrolled in the Simferopol gymnasium. Aivazovsky's first teacher was Johann Ludwig Gross (German artist), with the help of whom Ivan Konstantinovich received recommendations to the Academy of Arts. In 1833 he was admitted to the Imperial Academy of Arts of St. Petersburg at public expense. In 1835, for receiving a silver medal for the landscapes "View of the seaside in the vicinity of St. Petersburg" and "Study of the air over the sea" became an assistant to the fashionable French landscape painter Felipe Tanner. In 1837 he received the Great Gold Medal for the painting Calm. For success in studies, he graduated from the Academy two years earlier. From 1838 to 1839 he spent in the Crimea, where he continued to paint. In 1839 he returned to St. Petersburg, where he received his first rank and personal nobility. From the summer of 1840 to the fall of 1844, Aivazovsky travels and works in Europe. During this period he visited Italy, Switzerland, Holland, England, France, Portugal and Spain. In Paris, he received the gold medal of the Paris Academy of Arts for his paintings. From 1844 he became a painter of the Main Naval Staff of Russia, and from 1847 - a professor at the St. Petersburg Academy of Arts; was also in European academies: Rome, Paris, Florence, Amsterdam and Stuttgart. In 1845 he began construction of a house in Feodosia, and settled in Feodosia. Nevertheless, Ivan Konstantinovich traveled a lot, left for St. Petersburg several times a year, but considered Feodosia his home.
In 1848 he was married to Julia Yakovlevna Grevs (born approximately in 1820 - died in 1898). In this marriage, four daughters are born to Aivazovsky: Elena (1849), Maria (1851), Alexandra (1852), Jeanne (1858). In 1877, Ivan Konstantinovich and Yulia Yakovlevna divorced. And in 1883 Aivazovsky married Anna Nikitichna Burnazyan (1856-1944).
Ivan Konstantinovich made a huge contribution to the life of Feodosia. He opened an art school and an art gallery in Feodosia, supervised the archaeological excavations of more than 90 burial mounds in Crimea, was involved in the protection of monuments, at his own expense and according to his own project he built the Feodosia Museum of Antiquities (1941 was blown up by the retreating Soviet troops), was the initiator of the construction of the Feodosia railway. Dzhankoy (built in 1892), advocated the expansion of the Feodosia port (from 1892-1894 the largest commercial port in Crimea), assisted in laying a water pipeline from his own Subashsky source to Feodosia. Avozovsky was the first to be awarded the title of honorary citizen of the city of Feodosia. Until his death, Ivan Konstantinovich continued to work on paintings. He died on May 2, 1900 in the city of Feodosia. He was buried in Feodosia in the courtyard of the medieval Armenian church Surb Sarkis (Saint Sarkis). During his life, Ivan Konstantinovich Aivazovsky wrote more than 6,000 paintings and organized more than 125 personal exhibitions. He was a painter of the General Naval Staff, academician and honorary member of the Imperial Academy of Arts, honorary member of the Academy of Arts in Amsterdam, Rome, Paris, Florence and Stuttgart.
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