Aivazovsky in Feodosia summary. The good genius of Feodosia

ABSTRACT PLAN

1. Childhood and adolescence of Aivazovsky.

2. Amazing "skill of the artist with equal strength and persuasiveness to convey a furious storm and the quiet expanse of the sea ..."

3. Spiritual work before writing the painting "The Ninth Wave". “When Aivazovsky changed his mind and felt it all, then his hands reached out to the palette and brushes.”

4. General composition of the picture.

5. The general color of the picture

6. Aivazovsky's bold innovation.

7. Harmony of romanticism and realism in the picture.

8. Aivazovsky is an unsurpassed master of the seascape.

9. The artistic method of Aivazovsky.

10. The paintings "The Ninth Wave", "The Black Sea" and "Among the Waves" are the pinnacle of Aivazovsky's artistic skill.

When I was 10 years old my parents took me to the sea for the first time. Since then, I just fell in love with him, which is probably why my favorite artist is IK Aivazovsky and his cartita "The Ninth Wave".

Ivan Konstantinovich Aivazovsky is one of the greatest Russian painters of the 19th century. Aivazovsky was born on July 29 (17, old style), July 1817 in Feodosia in the family of a ruined Armenian merchant. Until now, there are legends in the city about a boy who painted with samovar coal on the whitewashed walls of the houses of the Armenian settlement. He grew up in Feodosia, and the most vivid impressions were associated with the sea; That is why he devoted all his work to the image of the sea.

With the assistance of the governor, the talented teenager was admitted to the Tavricheskaya gymnasium in 1831, and in 1833 - enrolled in the Imperial Academy of Arts of St. Petersburg, from which he graduated with a large gold medal and with the right to travel to the Crimea, and then to Europe.

The position of the leading master was given to him immediately. Wide public recognition accompanied Aivazovsky from the very first steps. At the age of twenty-three, he was already famous. Not only compatriots, but also foreigners unanimously and enthusiastically recognized his superiority in marine painting. Not a single artist has risen to the perception of the sea as a living element, and only Aivazovsky, having endowed him with all the shades of his feelings and experiences, was able to convey on the canvas the poetic idea of ​​his people about the sea as a formidable force calling for courage, courage, and struggle.

The image of the raging sea element excited the imagination of many Russian poets. This is clearly reflected in Baratynsky's poems. Willingness to fight and faith in ultimate victory are heard in his poems:

So now, ocean, I long for your storms

Worry, rise to the stone edges

He amuses me, your formidable, wild roar,

As the call of the long-desired battle,

As a powerful enemy, something flattering to me ...

Thus, the sea entered into the formed consciousness of the young Aivazovsky.

The skill of the artist is amazing. With equal strength and persuasiveness, he knew how to convey a furious storm and the calm surface of the sea, the shine of the sun's rays sparkling on the water and the ripples of rain, the transparency of the sea depth and the snow-white foam of the waves. “The movement of living elements is elusive for the brush,” Aivazovsky said, “to paint lightning, a gust of wind, a surge of waves is unthinkable from nature. He was convinced that "a person who is not gifted with memory, who retains the impressions of living nature, can be an excellent copier, a living photographic apparatus, but never a true artist." He himself constantly watched the sea, but almost never painted from nature.

Aivazovsky was able to embody feelings and thoughts that worried the progressive people of his time in seascape painting, which gave a deep meaning and social significance to his art.

In recent years, many close people have passed away. But the death of Belinsky especially struck Aivazovsky. How many noble, beautiful thoughts Belinsky had instilled in him during the heated debate!

Among his previous paintings, Aivazovsky found "Fleeing after a Shipwreck". This picture was once praised by Belinsky. She spoke of courage. And now the time has come when courageous people have risen to fight for freedom.

The world was no longer as serene as it seemed to Aivazovsky quite recently. Now is not the time to paint tranquil-breathing marine species. There are barricades in Europe. In St. Petersburg, the Puppeteers called Belinsky a barricade. And Vecchi, dear friend of youth, also became a barricade, joining Giuseppe Garibaldi.

He will paint a picture that will excite and shock people. Belinsky spoke about such art ...

But freedom did not celebrate victory for long. The revolution was suppressed. Aivazovsky's ardent design also went out. He never got down to painting. Days passed, weeks, months, a year passed ...

Once an Italian merchant ship came to Feodosia. The captain came to visit Aivazovsky. He told in a confidential whisper that the Italians were waiting for Garibaldi's return from a foreign land, they believed in the coming victory ...

With renewed vigor, thoughts about the unwritten picture awakened. Aivazovsky closed himself off from everyone in the workshop. The days passed, but he did not touch the palette and brushes. For a long time he sat in a chair with his eyes closed, his thought worked tirelessly. My childhood came to my mind, as fishermen talk about terrible storms and shipwrecks during their holidays. Youth rose: wanderings in foreign lands but the seas and oceans. Once on the way from England to Spain in the Bay of Biscay, a ship was caught in a violent storm. All the passengers were mad with fear. The artist was also afraid. But even during these hours, he was not abandoned by the ability to admire the beautiful formidable picture of the storm. Miraculously, they then reached the Lisbon harbor.

Other storms arose in my memory: in the Gulf of Finland, on the Black Sea. People died, but people won. The winners were those who were bolder and did not surrender to death, who passionately wanted to live. The storm was receding before the courage of man. Human will! He knew about her firsthand, but saw her with his own eyes: at sea, on land.

When Aivazovsky changed his mind and felt all this, then his hands reached out to the palette and brushes. Aivazovsky called his painting “The Ninth Wave”.

The thematic content of "The Ninth Wave" is built on a complex opposition of a dramatic plot and a bright, major, picturesque embodiment of the image.

The painting depicts early morning after a stormy night. The sun was rising over the raging ocean. Its rays opened wide the bright scarlet gate to the coming day. And now it only became possible to discern everything that the darkness of the night hid recently. Huge waves foaming, their furious crests still heaving. One of these waves is the highest. Her name is the ninth wave. And in the foreground of the picture, on the wreckage of the mast of a ship shattered by a storm, a small group of people is saved.

The artist contrasted the fury of the elements with the courage and courage of the people fleeing on the wreckage of the mast after the shipwreck. The crests of the shafts rise above their heads. With terrible force and anger, it is about to fall on the crashed victims. And tired, exhausted, they convulsively cling to each other, hoping in mutual support to find salvation from the death looming over them. The theme of man's struggle with the blind power of the elements is extremely characteristic of romanticism painting. For Aivazovsky, the tragic conflict between people and nature plays a relatively minor role; all the artist's attention is focused on the life of the element itself.

Aivazovsky built his picture in such a way and introduced into it the brightest and most sonorous colors that, despite the drama of what was happening, he made him admire the beauty of the raging sea. There is no sense of doom or tragedy in the picture.

The artist found precise means to depict the greatness, power and beauty of the sea. The picture is filled with deep inner sound. She is full of light, air and is all permeated with the rays of the sun, giving her an optimistic character. This is largely due to the coloristic structure of the picture. It is painted with the brightest colors of the palette. Its coloring includes a wide range of shades of yellow, orange, pink, lilac colors of the sky and green, blue and purple - water. The bright, major, colorful scale of the picture sounds like a jubilant, joyful hymn to the courage of people who conquer the blind forces of a terrible, but beautiful in its formidable greatness of the element.

The viewer can immediately imagine what a terrible thunderstorm passed at night, what calamity the ship's crew suffered and how the sailors died.

Who are these unfortunates, how did they get here? Yesterday morning their ship left the harbor into the open ocean. It was a clear, sunny day, the high, clear azure of the sky shone serenely. The calm expanse of the ocean beckoned to distant, unknown shores. But in the evening the wind rose, storm clouds quickly covered the sky. The ocean was agitated. Dazzling lightning flashed through the sky. Thunderous thunder shook the air. The shafts rose in a circle, the continuous circulation of the shafts. Closer and closer they surrounded the ship and finally rushed together to attack it. Only flashes of lightning illuminated the ego's mortal battle with the formidable element. The rumble of thunderous blows and roaring shafts drowned out the crackle of the breaking ship and the screams of people dying in the depths of the sea. And those whose hearts were filled with courage decided not to give up. Several friends stayed together all the time, did not lose each other, even when the ship sank. They clung to the wreckage of the ship's mast, encouraged each other in the thundering chaos and vowed to exert all their strength and endure until the saving morning ...

And they survived. The terrible night is over. The sunbeams bloomed heavy waves. The sun entered into an alliance with human will. Life, people have conquered the chaotic darkness of a night storm in the ocean The storm is straining its muscles, tired during the night. But they have already weakened. A little more - and the last, ninth wave will pass.

According to the existing belief, every ninth wave during a storm surpasses all the previous ones in strength. Huge waves, like mountains, rise and rage in the boundless space, merging with the sky, through which the clouds are driven by a frenzied wind. The sun, barely rising above the horizon, breaks the thick curtain of clouds and pierces the waves, foam and mist hanging in the air with a golden radiance. In his picture, the wind is really raging and the sea is agitated. With a mighty effort of imagination and creative memory, he created a true and impressive image of angry nature.

Motives of movement are captured with amazing accuracy in the picture. Everything in it is engulfed in a swift rush - running clouds, and foaming waters, and figures of people convulsively pressed against the mast. This unity of movement gives the image a special completeness and integrity.

The color scheme of the painting was bold and innovative. In comparison with the subtle and restrained range of colors of Russian landscape painters of the first half of the 19th century, "The Ninth Wave" was supposed to amaze the audience with intense brightness and richness of color combinations. The artist, with sophisticated vigilance, noticed and reproduced the green, white, lilac and blue shades of sea water and moist air, combining them with a golden tone of the reflections of the sun. For Aivazovsky, as for all romantics, color was a means of artistic expression of feelings, and it was in the coloristic system of the Ninth Wave that the romantically sublime outlook of the master was most clearly embodied.

Despite the fact that "The Ninth Wave" belongs to one of the paintings of Russian landscape painting, which most definitely reflects the features of romanticism, the semantic and pictorial content of the picture was not born in the world of dreams, but organically formed as a result of the artist's observations of nature.

"The Ninth Wave" represents the pinnacle of the first, romantic period in his work. Surrendered to the imagination, but created one of his greatest masterpieces.

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.

In the fall of 1850, the wasp exhibited it in Moscow, at the School of Painting, Sculpture and Architecture. They came to watch "The Ninth Wave" many times, as they once went to "The Last Day of Pompeii."

The nineteen-year-old boy Ivan Shishkin, who had recently arrived in Moscow from Yelabuga, also saw the "Ninth Wave". For a long time he stood enchanted by the bright green color of the waves, golden and mauve reflections from the sun shining through the fog.

The young man could not take his eyes off the miracle canvas. He clearly heard the rumble of the sea. And this rumble seemed to merge with the rumble of age-old pines in their native forests near Elabuga ...

And, perhaps, it was at these moments that another wonderful Russian artist was spiritually born.

The work of Ivan Konstantinovich Aivazovsky evokes great interest and a sense of deep admiration in the audience. The sea, exalted by him both in storm and calm, fed his imagination throughout the artist's life.

For Ivan Konstantinovich Aivazovsky, the sea has always been synonymous with freedom, personified strength and courage, called for confrontation, called on to believe in the high destiny of man, to go to the goal through trials and troubles.

All his life he devoted to the image of the sea; he created and raised to a great height a special area of ​​landscape painting - the marina, which before Aivazovsky had almost no representatives in Russian art. Aivazovsky is undoubtedly the central figure and the greatest master of the seascape in Russian art of the 19th century. In this field, he was and remains an outstanding consummate master.

The ability to poetically perceive the most mundane phenomena in nature was vividly reflected in his works. Whether the artist paints a group of fishermen sorting out nets by the launch, a moonlit night after a storm, Odessa at moonrise or the Gulf of Naples at dawn, he always finds elusive features in the visual image of nature that evoke poetic or musical associations in our memory.

Aivazovsky's paintings are deeply meaningful, emotionally rich. His pictorial images sometimes rise to broad generalizations, reflecting many aspects of life and advanced ideas of his time. With particular clarity, this affected the works that became the main milestones in the development of his work. The paintings "The Ninth Wave" (1850, Russian Museum), "Black Sea" (1881, Tretyakov Gallery) and "Among the Waves" (1898, Aivazovsky Gallery, Feodosia) are the result of many preliminary searches for a certain image of the sea. Aivazovsky's skills are still the most popular, because they more vividly than in many other paintings reflected the skill, ideological orientation and content of the artist's work.

In the preparation of this work were used materials from the site

Presentations about I.K. Aivazovsky

Text No. 1

Exam: He was, about the sea, your singer! ** - Exam reports and retellings for grade 9 in Russian

In world painting, there is no more famous singer of the sea than Ivan Konstantinovich Aivazovsky. Aivazovsky never changed the subject - he painted only the sea.

The artist's day was punctually measured: he got up at dawn and soon after breakfast sat down to work, wrote until lunchtime, then took a short walk and wrote again until evening. Usually, starting to write, he took out a folder with drawings made earlier, chose the one he liked best and based on it he created a pictorial composition. On the very shore he built a workshop; during a storm, salt spray poured over the terrace, where the artist usually sat, admiring the raging elements. He gazed eagerly into the black distance, from where the gray shafts were rushing fiercely.

His brush was moved by an ardent, irrepressible desire to present the world with new poems about the majestic struggle of man with the elements, about the unexplored beauty of the radiant kingdom of the sea, about native expanses and distant coasts. He was guided by the great feeling of a patriotic artist. (151)

V. Osokin.

https://slovo.ws/dikt/rus/09/174.html

Text No. 2

He always began to meet the dawn on the seashore. So this morning also began. Aivazovsky was sitting on the shore. The artist thought about the painting, which stood unfinished in the studio. He will stay here a little longer and return to the canvas. An ordinary day will begin, full of joyful work. In the meantime, he will enjoy this wonderful morning. The sun has just risen. How festive around! For many years he has seen all this, but each time he admires and marvels at the blue with green sea, transparent blue air over the hills beyond Feodosia ...
Aivazovsky suppresses an involuntary sigh, so I want to stay still here, but no less imperious is another desire - to return to paints and brushes as soon as possible. This second desire wins, and Ivan Konstantinovich is slowly heading towards the house.
But suddenly the wind rose, ripples ran across the calm sea, and the waves rushed to the shore with a groan. Aivazovsky returned to the sea. The surging waves fell with a disturbing noise at his feet. Then everything calmed down again.
Aivazovsky is agitated. It seems to him that the sea does not let him go, that it wants to tell him one more secret. The artist sits down again on a large stone near the water and ponders.
The sea ... Here he was born, here he returned after graduating from the Academy of Arts and staying in foreign lands. Here he will live until the end of his days, because he loves his hometown and the sea near its shores.
Aivazovsky is not only an artist of the sea, but also its chronicler. Every day it reveals its secrets to him. When clouds cover the sky and a storm approaches, the artist's imagination is carried away to the open sea.

He draws brave ships among the waves. At such moments, all his thoughts are with them - unknown sailors. It happened more than once that he cheered them out loud ... And now it seems to him that the sea has not for nothing forced him to return to warn of the approaching storm. Aivazovsky dreamed of this for a long time, but suddenly he heard someone calling out loudly to him. Aivazovsky turns around. The postmaster of Feodosia stands in front of him.
“Ivan Konstantinovich,” he says, “I'm sorry to interfere with your reflections ... But I know how impatiently you await letters from Italy. Late last night a letter came to your name from Rome. So I hastened to please you with a message from friends.
Aivazovsky is sitting in his studio and rereading a long-awaited letter from Rome. They wrote to him that Vecchi, a friend of his youth, was fighting for the freedom of Italy, that he had joined Giuseppe Garibaldi and became his adjutant. Aivazovsky ardently sympathized with the cause to which Vecchi and his friends devoted themselves, he worried about their fate. Even in his youth, Aivazovsky met a Neapolitan
Vekkn. He was one of the enthusiastic admirers of the artist's talent. They happened to meet quite often while Aivazovsky lived and worked in Italy. Time passed, but the friendship did not fade, fear for the fate of Becky did not leave the famous artist. It became even more acute after the artist returned from foreign lands to his homeland, to Russia.
And now the news came that Veckn stood next to Garibaldi and was fighting for the freedom of Italy on the barricades. (463)
According to I. Grigorovich

http://scicenter.online/russkiy-yazyik/pevets-morya-73647.html

Text No. 3

The sea has always attracted artists with an unknown force. For some, the sea became the theme of sketches, but among the painters of the Russian school, perhaps only Ivan Aivazovsky completely devoted his talent to the sea element. Born on the Black Sea coast, he was captivated by the sea forever and kept this love until the end of his life.

Eastern Crimea, Feodosia. The history of a great many peoples is associated with this city: Greeks and Turks, Tatars and Italians, Armenians and Russians; there mixed peoples, cultures and traditions, but they were all united by the amazing nature and the endless sea.

In 1817, a son Ivan (Hovhannes Gayvazyan) was born in the family of a poor Armenian merchant Gayvazyan, who came from an old noble family. Even after moving to Feodosia, his father changed his surname to Gaivazovsky, and in 1841 Ivan himself changed it to a more sonorous one - Aivazovsky. Since childhood, he dreamed of the exploits of folk heroes. In his memoirs, Ivan Konstantinovich wrote: “The first pictures I saw, when a spark of fiery love for painting flared up in me, were lithographs depicting the heroic deeds of the heroes at the end of the twenties fighting the Turks for the liberation of Greece. Subsequently, I learned that sympathy for the Greeks, overthrowing the Turkish yoke, was then expressed by all the poets of Europe: Byron, Pushkin, Hugo, Lamartine... The thought of this great country often visited me in the form of battles on land and at sea. "

Once the father of eight-year-old Ivan told him that there are places where there is only land and no sea. The boy was terribly surprised: “But what about the ships? After all, they can only swim on water. " The world cannot be without the sea, he believed, as the world cannot be without ancient fortresses, ancient ruins, without churches and mosques, without Genoese fortresses.

Ivan was eight years old when he began to paint with charcoal on the white walls of houses. His father gave him several sheets of yellowed thick paper, and from that day the boy's fate was decided. When the paper ran out, he began to draw on books. A grandiose scandal happened - a storm and a raging sea migrated from the drawings to the house: my father treasured the library very much.

The boy's talent was noticed early enough by the mayor Alexander Ivanovich Kaznacheev. Together with Ivan's drawings, he sent to St. Petersburg a petition for the admission of the young artist to the Academy of Arts as a pensioner of His Majesty, and he was accepted. Almost immediately he was enrolled in the professor's workshop Maxim Vorobyova, thanks to which Aivazovsky grew from a young provincial into an enlightened artist. Very soon in the St. Petersburg salons they started talking about the talented academician, about his amazing abilities and about the unique artistic memory. Upon graduation from the Academy, Aivazovsky was awarded a gold medal and sent to Crimea for independent work. The highest order surprisingly coincided with the aspirations of the artist himself. In one of his letters, Aivazovsky wrote: “I willingly spend the winter in St. Petersburg, but the spring will blow a little, and longing for my homeland attacks me. I am drawn to Feodosia, to the Black Sea. "

The Russian emperor saw in the artist a singer of sea battles, the elements of battle for the glory of the Russian fleet. Aivazovsky indeed became a generally recognized chronicler of the victories and defeats of the Russian fleet. Through his eyes, contemporaries saw the history of major naval battles. Returning to the Crimea, he, at last, was again among the ships, sails and the sea element, which he lacked so much in the stuffy Petersburg. The artist returned to his native places at a time when the difficult defense of Sevastopol lay ahead. It was in Sevastopol that he opened an exhibition of his paintings. Admiral Nakhimov, who visited the exposition, turned to the author: “Ivan Konstantinovich, I am amazed at your genius. I have known you for so many years, but I cannot comprehend how it is possible, without being in place, to portray everything so correctly. " It is worth noting that Aivazovsky never painted from life. All his paintings were born from memory. “The movement of living elements is imperceptible to the brush. It is unthinkable to paint lightning, a gust of wind, a surge of waves from nature, ”he said.

In 1840, the artist went to Italy as an established master marine painter. “The surface of the sea, on which a gentle breeze makes a quivering ripple, seems to be a field of sparks or a multitude of metallic sparkles on the mantle of the great king. Forgive me, great artist, if I was mistaken in mistaking the picture for reality, but your work fascinated me. Delight took possession of me. Your art is high and powerful, because genius inspires you ”- this is how the famous English artist Joseph Turner greeted Aivazovsky. Success accompanied Aivazovsky in everything, but he returned to Russia in 1844 - two years ahead of schedule. Sea, space, sky, air, heavenly bodies, penetrating darkness and light of fire. - these motives again attracted him to Feodosia. The artist invented, painted and built his house on the Black Sea coast himself. His best paintings were painted there. The first to see them were fellow countrymen - residents of Feodosia, and only then their way lay to the Tretyakov Gallery, to the Hermitage, to Paris, London, Rome, Constantinople, New York.

Aivazovsky lived a long life, having survived two generations of artists, creating about six thousand paintings. Starting with works saturated with vivid romantic images, by the end of his life the artist came to a heartfelt, deeply realistic and heroic image of the sea element. Until the last day, he retained not only an attentive look, but also a deep faith in his art. He was elected a member of five Academy of Arts, and his admiralty uniform was strewn with honorary orders from many countries. Many facts from the life of Aivazovsky have come down to us in a bizarre mixture of reality with myths and legends. They even say that the great Glinka I listened with pleasure to the young academician Aivazovsky playing the violin and even used several melodies he performed in Ruslana and Lyudmila. Aivazovsky's friends argued that if he had not been a painter, he would have become an outstanding musician. But he was destined to devote his life to the poetry of the sea element. On the artist's tombstone it is written in Armenian: "Born to mortals, he left an immortal memory of himself."

Feodosia celebrates the anniversary of a man whose name is forever associated with the city - 200 years since the birth of the great marine painter Ivan Aivazovsky. Recently, a memorial sign dedicated to the famous artist was unveiled in the city: one more gratitude from descendants.

All awards did not fit on a frock coat

Did you know that Aivazovsky was the most "order-bearing" artist of the Russian Empire? To him - which rarely happens - recognition, honor and glory came during his lifetime. Some of the awards of the famous marine painter can be seen in the Feodosia Art Gallery named after Aivazovsky.

“By the grace of God, We, Alexander III, Emperor and Autocrat of All Russia, Tsar of Poland, Grand Duke of Finland ... To Privy Councilor Ivan Aivazovsky ... In consideration of your zealous service and concern for the prosperity of Feodosia, to which you dedicated yourself simultaneously with acquiring you the worldwide fame of your artistic works ... We have granted you a Knight of the Imperial and Royal Orders of our White Eagle ... "

Portrait of Aivazovsky with orders and stars. Photo:

One of the ceremonial portraits of Ivan Konstantinovich, with awards, has survived to this day. Of course, Aivazovsky did not wear all the orders, they simply would not fit on a frock coat - after all, he had all the highest awards of Russia, the same "White Eagle", "Alexander Nevsky", not to mention the "Vladimirs" and "Anna". Order of St. Alexander Nevsky, a silver star with a monogram and the inscription "For Labor and Fatherland", as it were, symbolizes the whole life of Aivazovsky. And he devoted himself to work with selflessness - according to his own statement, he created six thousand paintings in his life; and served the fatherland for the good - it is worth remembering his paintings, praising the Russian fleet.

Aivazovsky was the first foreign artist to be awarded the Order of the Legion of Honor - such a strong impression was made on the French by his exhibition in the Louvre. The painting "Chaos" - one of two painted by Aivazovsky in a mystical genre atypical for him, was acquired by the Vatican, and Pope Gregory XVI awarded the artist a gold medal. To list all the awards of Ivan Konstantinovich is a long matter. Although there were some that he did not like to remember. In 1857, Aivazovsky visited Constantinople, and presented one of his paintings to his compatriot. And he, in turn, presented it to the Sultan, who appreciated painting. The Turkish ruler was so impressed with the canvas that he sent an order to Feodosia: several views of the Bosphorus by Aivazovsky. Forty works were written by the artist for the Sultan, and, by the way, the peace treaty between Turkey and Russia at the end of the Russian-Turkish war was signed in a hall decorated with paintings by Aivazovsky. The highest Turkish award - the Order of Osman - was awarded to the painter. And a few decades later, he threw her, along with other Turkish awards into the sea - after the monstrous massacre of Armenians, staged in Turkey by its new ruler. Aivazovsky even considered it necessary to notify the Turkish consul about what he did with the awards, adding that the sultan could do the same with his paintings.

Feodosia Art Gallery named after I.K. Aivazovsky

The museum keeps the so-called "addresses" - artistically executed and decorated with silver folders, which were presented to anniversaries and solemn dates. There are also personal belongings of Aivazovsky - an elegant travel album that Aivazovsky carried with him, a tiny miniature with a postage stamp with a sea view: this is ... a brooch. Ivan Konstantinovich presented his friends and acquaintances with such trinkets of his own work.

The good genius of Feodosia

Orders and stars of Ivan Aivazovsky. Photo: Feodosia Art Gallery named after I.K. Aivazovsky

Ivan Konstantinovich had such a trait: he was easily carried away, easily passed from words to deeds and usually achieved success. Here's an example: in 1853-1856, Aivazovsky became interested in archeology. And in his own way he decided to take part in a scholarly discussion of historians about where exactly ancient Theodosia was. He was sure that for the most part - on the territory of the existing city. And, in fact, why debate - you have to dig! With his characteristic energy, Aivazovsky received funds from the treasury and began excavating burial mounds in the vicinity of the city.

Here is how the curator of the Museum of Antiquities, Evgeny Frantsevich de Villeneuve, reported on the first results: “22 burial mounds were opened ... In most of them, only broken amphorae, ash, coal and burnt bones were found. The following items were found in four mounds: gold necklaces, earrings, a woman's head, a chain with a sphinx, a sphinx with a woman's head, a bull's head, plates; silver bracelets; clay figurines, medallions, vessels and sarcophagus; silver and bronze coins ". But then in one of the mounds, on the southernmost elevated point of Cape Ilya, a female burial was opened. Jewelry eloquently testified that the woman belonged to the "cream of society": they were not just gold, but also skillfully made. It was they who ended up in the Hermitage.

During the life of the great marine painter, not a single significant event for the city took place without his participation. In the summer, beginning artists from different parts of Russia came here, to Feodosia. The construction of a concert hall, a library, a new building for the Feodosia Museum of Antiquities - these are all, as they would say today, his projects. And how he advocated the construction of a railway line from Dzhankoy to Feodosia! She appeared in 1892.

In Crimea, water has always been in short supply, and Eastern Crimea regularly suffered from drought. In 1887, Aivazovsky turned to the City Duma with a proposal: “Not being able to continue to witness the terrible disaster that the population of my native city experiences from year after year from lack of water, I give him 50 thousand buckets a day of clean water from my own me of the Subash source. " In the same year, work began on laying a water conduit - and a few years later a fountain with drinking water in an oriental style appeared in the city.

The residents of Feodosia remember Aivazovsky not just as a great artist, a man of extraordinary talent and ability to work. For them, he was the kind genius of his hometown.

the effect great Russian artist I.K. Aivazovsky in the fact that he seemed to have been in all storms, drowned in every shipwreck, took part in all sea battles and wrote about it in his beautiful paintings. Therefore, looking at the paintings of Aivazosky, it is impossible to get rid of the effect of presence. He often said: "The sea is cruel, and a man in the sea is helpless!"
V 2017 July 17 marks the 200th anniversary of I.K. Aivazovsky, a romantic seascape painter, a master of the Russian classical landscape, conveying on the canvas the beauty and power of the sea element.
In Feodosia I.K. Aivazovsky lived a long life, full of creative fire and indomitable energy. In Feodosia, the artist was born and died at the age of 83.
As soon as finances allowed, Aivazovsky settled in his native Feodosia on the Black Sea coast, where he bought a plot and built a house on it, reminiscent of the style of Italian palazzo.
The mansion was always full of guests - many visitors wanted to see the famous artist and his work. Over time, Aivazovsky turned it into a private museum open to visitors, and added a gallery. Today it is the building of the Feodosia National Art Gallery. Aivazovsky.
In his own house on the Black Sea coast in Feodosia, Aivazovsky worked in his workshop and lived in it for more than half a century.

At the main facade of the artist's house there is a bronze monument, on the pedestal of which there is a laconic inscription: "Feodosia to Aivazovsky".
In this short phrase, grateful descendants included a great sense of admiration, pride and deep respect for their famous countryman, the first Honorary Citizen of Feodosia, who did a lot for the economic and cultural development of the city.
In addition to the opening of an art gallery in Feodosia, Aivazovsky in 1871, according to his project and at his own expense, builds the building of an archaeological museum, becomes one of the organizers of the first public library.
He constantly cares about the architectural appearance of his hometown. With his participation, the buildings of the concert hall, the summer residence of the famous publicist and editor of the Novoye Vremya newspaper, A.S. Suvorin, were designed and built.
According to the artist's project and thanks to his energy, a sea trade port and a railway were built.
Fountain of I.K.Aivazovsky- a kind of visiting card of Feodosia.
The city has long experienced difficulties with water supply; fresh water was sorely lacking. In July 1888, the writer A.P. Chekhov, who was visiting Feodosia, wrote: ": There are no trees and grass in Feodosia:" The problem was resolved in 1887, when, to improve the city's water supply, IK Aivazovsky presented the city with 50 thousand buckets of water every day from the Su-Bash estate (now the village of Aivazovskoye, Kirovsky district).
The construction of the water supply system was carried out in the spring - summer of 1888, the city spent 231,689 rubles on its construction, a very large sum for those times. Water entered the city already in September, and on October 1 (September 18, old style), 1888, on the day of the official opening of the water supply system, a fountain was launched on Novo-Bazaar Square.
In its shape, the fountain is a rectangular structure of the oriental style with large eaves from the roof, built of local shell rock, the stone cladding has been partially preserved. The fountain was built at the expense and design of IK Aivazovsky. Its laying took place on September 12, 1887 after a divine service in the Feodosia Alexander Nevsky Cathedral.
The City Duma was going to name the fountain after Alexander III, the corresponding documents were prepared and sent to the authorities. Without waiting for a decision, the city authorities prepared a mortgage plate on which the words "Emperor Alexander" were engraved.
However, taking into account the merits of IK Aivazovsky, the Imperial Decree, which followed in September 1888, was ordered to give the fountain the name of the great artist. In this regard, instead of the words "Emperor Alexander", they knocked out "I.K. ... If you look closely at the embedded plate, then in front of the first letter in the name of I.K.
There was a fee for using the Feodosia-Subash water pipeline, but they drank water from the fountain free of charge. In the center of the fountain, above the tap, there was a silver mug with the inscription: "Drink to the health of Ivan Konstantinovich and his family." some time later, an oriental pavilion appeared near the fountain (the building has not survived): on the left was a cheburek house, on the right they cooked shashliks, and the cafe was called Fontanchik. In the warm season, the tables were set behind a light fence right under the open sky. At the turn of the 19th and 20th centuries, this corner of the city was very popular among the townspeople.

Bronze monument to Aivazovsky in Feodosia was installed on a granite pedestal in 1930. It was built by the Russian sculptor Ilya Gintsburg. It is important that the sculptor personally knew Aivazovsky, he remembered the artist's favorite poses and that is how he portrayed him in his work. The monument in Feodosia was erected by the residents of the city as a token of gratitude to the great marine painter and famous patron of the arts.
Ivan Konstantinovich took an active part in the development of the city. He presented Feodosia with a railway, a water supply system and his art gallery with thousands of unsurpassed works.
The great artist is depicted at the moment of creation - he confidently sits leaning back a little, his sleeve is pinned so as not to smear it with paint (they say that this is what Aivazovsky did). In his left hand is a palette, and his gaze is directed into the distance to the sea, spreading in front of him the Feodosia Gulf. The right hand was supposed to have a brush, but immediately after the monument was erected, a strange "tradition" appeared - the brush is constantly being stolen.
The monument is covered with a patina; this is a layer of green film formed due to exposure to moisture for a long time.
Monument to Aivazovsky in Feodosia stands at the main entrance to the art gallery. Simple words are carved on the pedestal: "Feodosia to Aivazovsky."

Composition based on the painting by IK Aivazovsky “Moonlit Night. Bath in Feodosia "

Ivan (Hovhannes) Konstantinovich Aivazovsky was born in Feodosia on July 17 (30), 1817. The boy began to take an early interest in art, music and drawing aroused particular interest in him. In 1833, Aivazovsky was enrolled in the Academy of Arts in St. Petersburg.

Ivan Konstantinovich Aivazovsky is rightfully considered an outstanding Russian painter. All the works of this great artist are known all over the world.

Many paintings by Ivan Konstantinovich Aivazovsky are dedicated to the sea. The artist emphasizes the nature of the sea element, so accurately and realistically conveys everything that is associated with the sea. One of the most famous paintings is Moonlit Night. Bath in Feodosia ". This work was created in 1853. The painting was painted in oil on canvas.

We see the night sea on this canvas. Sky, clouds, ship. Full moon light illuminates the surroundings. And everything seems somewhat unreal, ephemeral, even mystical. At the same time, we can distinguish the smallest details, so the reality of everything that is depicted in the picture is beyond doubt.

In the foreground of the painting, we see a calm, calm sea. The bright moonlit path seems so mysterious and attractive. The endless sea goes beyond the horizon. A girl is floating on the right side of the moonlit path. As she is not afraid here alone ... After all, the sea only looks so calm and serene. But in fact, the insidiousness of the sea is known to everyone. However, could it be a mermaid? And the sea element is her home. The legends about these amazingly beautiful inhabitants of the sea are immediately remembered. Maybe they really exist. And the picture shows one of them? But it immediately becomes clear that these are just dreams.

There is a bathhouse on the shore. Here the door is open, it is light inside. We see a girl. She is probably waiting for her friend who is swimming in the sea. If you look closely, you can see the embankment on the right side of the picture. It is illuminated by bright moonlight. There are houses a little further. They are hidden in the dark, not a light is visible in the windows.

In the center of the picture we see sailboats. One of them is brightly lit by moonlight. There are ships at the pier. But they are not so easy to see, they are hidden by the darkness of the night.

The sky seems to be special, it is brightly illuminated by the moonlight. The clouds are so clear.

They seem so tangible, as if you can touch them with your hand.

The beauty of the night sea and sky is amazing. I want to look at this picture again and again. And every time it is possible to see something completely new in it.

There is something unusual, mystical in the picture. Here, on the one hand, there is a rare calm and harmony. But on the other hand, one can feel the formidable power of the sea, which at any moment can turn from calm and serene into formidable and dangerous. And then the rampant elements will make you forget about everything. After all, a person is defenseless against the force of the sea element. But now I don’t want to think about it. The sea is so gentle and calm. One gets the impression that amazing sea freshness is reaching us.

This painting is part of the Crimean cycle, created by the artist. Currently, the work is in the Taganrog Art Museum.