Description of the painting by Aivazovsky fishermen on the seashore. F

The artist has always said that the sea is his life. Aivazovsky had the ability to transmit the breath and movement of the sea.

From an early age he was very fond of the sea, so he knew how to create a poetic and truthful image of an unrestrained element, to convey a romantic perception, to which he always remained faithful.

Distinguished by picturesque extraordinary thinking, Aivazovsky created his magnificent, striking decorative sounding bright combinations. He stated that if he lived for at least another three hundred years, he would always find something unusual and new in the sea, which is probably why his works are perceived as a song of beauty and a symphony of colors.

Through the eyes of the artist, in his paintings you can see people who admire the majestic, amazing beauty of nature and an integral part of the universe in man. The romantic "fictional" characters in his paintings are self-portraits in their own way.

Since Aivazovsky believed that it was unthinkable to paint from life a burst of waves, gusts of wind, lightning, all the movements of natural elements that were elusive for the brush, he only limited himself to cursory pencil sketches.

The emerald game of the Black Sea surf has sunk into his soul since childhood, when, as a child, he played on the coast of his native Feodosia. And all of his paintings of the seas, subsequently turned out to be painted with lilac lace foam and green transparent water, which is characteristic of his native coast.

Since all his most vivid impressions were associated with the sea, therefore, he probably devoted all his work to his images. He could with equal power convey the transparency of the sea depths, the snow-white foam of the sea waves and the sparkling shine of the sun's rays on the water. Aivazovsky always began to paint pictures of the sky, calling it air, like his teacher M. Vorobyov. He wrote "Air" in one breath, literally in one session of work. Only in this way was he able to convey with his titanic effort the integrity and airiness of the heavenly colors. His desire to complete the work as quickly as possible was determined by his motive, not to lose the unity of his mood and to convey to people the stopped moment of the mobile life of the sea element. In Aivazovsky's paintings, water is an endless ocean, endless, harsh, swaying, but not stormy.

Aivazovsky said that the plot of his paintings is composed in his memory, like a poet has a poem, and, making sketches on paper, and then starting to work, he does not leave the canvas until he expresses his brush on it.

Fishermen on the Shore, 1852.
Canvas, oil. 93.5 x 143.0.
National Gallery of Armenia, Yerevan

"The sea is my life," said the artist. He had the ability to convey the movement and breath of the sea.

From childhood, Aivazovsky loved the sea and managed to create a true and poetic image of the boundless elements, the romantic perception of which he always remained faithful to.

The master was distinguished by an unusual pictorial thinking. On the canvas, the artist creates bright combinations that amaze with their magnificent decorative sound. You perceive such works as a symphony of colors, as a song to beauty. "If I had lived for another three hundred years," said the artist, "I would have always found something new in the sea."

Often in the paintings of Aivazovsky you can see people admiring the majestic beauty of nature. The artist sees in a person an integral part of the universe. His "fictional" romantic heroes are self-portraits in their own way.

The artist discovered his method of depicting from memory, even without sketches, limiting himself only to cursory pencil sketches. Justifying this method, the artist said: "The movements of the living elements are elusive for the brush: to paint lightning, a gust of wind, a surge of waves is unthinkable from nature."

As a child, he played on the shore of his native Feodosia, and since childhood, the emerald play of the Black Sea surf has sunk into his soul. Subsequently, no matter how many seas he painted, everything he got was clear green water with lilac laces of foam, characteristic of his native Euksian Pontus. The most vivid impressions were associated with the sea; probably that is why he devoted all his work to the image of the sea. With equal power, he could convey the brilliance of the sun's rays sparkling on the water, the transparency of the sea depth and the snow-white foam of the waves.

Aivazovsky's works stood out among the works of contemporary painters for their coloristic qualities. In the 1840s, during an exhibition in Berlin, a reviewer of a local newspaper explained the increased sound of color in the works of the Russian artist by the fact that he was deaf and dumb and this deficiency was compensated for by heightened vision.

Strict critic I. N. Kramskoy wrote to P. M. Tretyakov: "Aivazovsky probably possesses the secret of drawing up paints, and even the paints themselves are secret; I have not seen such bright and clean tones even on the shelves of mosque shops."

Aivazovsky was influenced by the Dutch marine painters of the 17th century, he came to the "watercolor" painting technique, when the color is superimposed on the canvas in thin overlapping layers. This made it possible to transfer the most insignificant color-tonal gradations.

Aivazovsky began to paint a picture, depicting the sky, or as he called it after his teacher at the Academy of Arts M.N. Vorobyov - air. Whatever the size of the canvas, Aivazovsky wrote "air" in one session, even if it stretched up to 12 hours in a row. It was with such a titanic effort that the transfer of the airiness and integrity of the colors of the sky was achieved. The desire to complete the picture as quickly as possible was dictated by the desire not to lose the unity of the mood of the motive, to convey to the viewer a frozen moment in the life of a mobile sea element. The water in his paintings is an endless ocean, not stormy, but swaying, harsh, endless. And the sky, if possible, is even more infinite.

"The plot of the picture," the artist said, "is composed in my memory, like the plot of a poem by a poet; having made a sketch on a piece of paper, I get to work and until then I do not leave the canvas until I express myself on it with my brush."

Speaking about his paintings, Aivazovsky remarked: "Those paintings in which the main force is the light of the sun ... should be considered the best."

Our work

04.03.2015

Aivazovsky Ivan Konstantinovich "Fishermen on the seashore"

For Ilya from the city of St. Petersburg, the artists of "Gallery No. 30" made a copy of the painting by the famous Russian artist Ivan Konstantinovich Aivazovsky "Fishermen on the seashore". The picture is executed in the technique of oil on canvas.

Ivan Konstantinovich Aivazovsky Sea wrote a lot, it is not for nothing that he is called the best marine painter in the entire history of painting. When Ivan Konstantinovich began to paint a picture of the sea, they say, he usually began it with a description of the sky, not the sea. Sky, air - thus the artist set the tone, mood, idea of ​​the future canvas, its unity and character. Moreover, he began from the sky in any case, no matter how large the future work.

Another characteristic feature of the marine painter is to paint each of its parts in one session. And sometimes a painting session lasted 10 or 12 hours in a row. He did not deviate from the idea, did not stop the course of his thoughts throughout the session. By doing this, achieving the creation of a single concept, unity of mood. After all, each of his paintings seems to freeze time for a moment. And in this cut of the moment or thoughtfulness, as on the canvas "Fishermen by the Sea", or fear, as in the painting "The Ninth Wave". Just one moment, and how alive and whole it becomes on each canvas of the great marine painter. Quiet or seething, but always breathing sea, mobile and alive.

And if the sea in his paintings is endless, then the sky is even more endless. So deep, so sensual that sometimes it tells the whole story of what happens in his paintings.

The Singer of the Sea, his fellows called him by the brush. It was for his canvases of the sea in 1844 that the St. Petersburg Academy of Arts awarded Ivan Konstantinovich Aivazovsky the title of academician. In addition, the artist was enrolled in the General Naval Headquarters with the title of the first painter. And he had the right to wear a naval uniform.

Thanks to the extraordinary colors of the artist's canvases, his paintings can perfectly decorate any interior. Therefore, more and more often copies of paintings by Ivan Konstantinovich Aivazovsky are ordered by our clients in "Gallery No. 30".

Canvas, oil. 93.5 x 143.0. National Gallery of Armenia, Yerevan

"The sea is my life," said the artist. He had the ability to convey the movement and breath of the sea.

From childhood, Aivazovsky loved the sea and managed to create a true and poetic image of the boundless elements, the romantic perception of which he always remained faithful to.

The master was distinguished by an unusual pictorial thinking. On the canvas, the artist creates bright combinations that amaze with their magnificent decorative sound. You perceive such works as a symphony of colors, as a song to beauty. "If I had lived for another three hundred years," said the artist, "I would have always found something new in the sea."

Often in the paintings of Aivazovsky you can see people admiring the majestic beauty of nature. The artist sees in a person an integral part of the universe. His "fictional" romantic heroes are self-portraits in their own way.

The artist discovered his method of depicting from memory, even without sketches, limiting himself only to cursory pencil sketches. Justifying this method, the artist said: "The movements of the living elements are elusive for the brush: to paint lightning, a gust of wind, a surge of waves is unthinkable from nature."

The emerald play of the Black Sea surf has sunk. Subsequently, no matter how many seas he painted, everything he got was clear green water with lilac laces of foam, characteristic of his native Euksian Pontus. The most vivid impressions were associated with the sea; probably that is why he devoted all his work to the image of the sea. With equal power, he could convey the brilliance of the sun's rays sparkling on the water, the transparency of the sea depth and the snow-white foam of the waves.

Aivazovsky's works stood out among the works of contemporary painters for their coloristic qualities. In the 1840s, during an exhibition in Berlin, a reviewer of a local newspaper explained the increased sound of color in the works of the Russian artist by the fact that he was deaf and dumb and this deficiency was compensated for by heightened vision.

Strict critic I. N. Kramskoy wrote to P. M. Tretyakov: "Aivazovsky probably possesses the secret of drawing up paints, and even the paints themselves are secret; I have not seen such bright and clean tones even on the shelves of mosque shops."

Aivazovsky was influenced by the Dutch marine painters of the 17th century, he came to the "watercolor" painting technique, when the color is superimposed on the canvas in thin overlapping layers. This made it possible to transfer the most insignificant color-tonal gradations.

Aivazovsky began to paint a picture, depicting the sky, or as he called it after his teacher at the Academy of Arts M.N. Vorobyov - air. Whatever the size of the canvas, Aivazovsky wrote "air" in one session, even if it stretched up to 12 hours in a row. It was with such a titanic effort that the transfer of the airiness and integrity of the colors of the sky was achieved. The desire to complete the picture as quickly as possible was dictated by the desire not to lose the unity of the mood of the motive, to convey to the viewer a frozen moment in the life of a mobile sea element. The water in his paintings is an endless ocean, not stormy, but swaying, harsh, endless. And the sky, if possible, is even more infinite.

"The plot of the picture," the artist said, "is composed in my memory, like the plot of a poem by a poet; having made a sketch on a piece of paper, I get to work and until then I do not leave the canvas until I express myself on it with my brush."

Speaking about his paintings, Aivazovsky remarked: "Those paintings in which the main force is the light of the sun ... should be considered the best."

e. Niagara Falls

In 1892 I.K. Aivazovsky traveled to North America, where an exhibition of his works was held with great success.

The picture, painted shortly after returning from overseas, pleases with the freshness of color, perfectly conveyed the feeling of humid air. Despite the sky covered with gray clouds, the landscape is permeated with the light of the sun's rays, which have transformed the water and the coast. A remarkable decoration of the canvas is a rainbow, which Aivazovsky, judging by the drawings in his American travel album, really observed over the waterfall. The matte surface of the canvas, light painting style are common for the artist's works of those years.

Genre: River landscape

Era: Painting of the 19th century

Year of creation of the original: 1893

Dimensions of the original, cm: 126x164

f. Fishermen on the seashore

Aivazovsky began to paint a picture, depicting the sky, or as he called it after his teacher at the Academy of Arts M.N. Vorobyov - air. Whatever the size of the canvas, Aivazovsky wrote "air" in one session, even if it stretched up to 12 hours in a row. It was with such a titanic effort that the transfer of the airiness and integrity of the colors of the sky was achieved. The desire to complete the picture as quickly as possible was dictated by the desire not to lose the unity of the mood of the motive, to convey to the viewer a frozen moment in the life of a mobile sea element. The water in his paintings is an endless ocean, not stormy, but swaying, harsh, endless. And the sky, if possible, is even more infinite. The plot of the picture, - said the artist, - is composed in my memory, like the plot of a poem in a poet; having made a sketch on a piece of paper, I get to work and until then I do not move away from the canvas, until I express myself on it with my brush. " Speaking about his paintings, Aivazovsky said: "Those paintings in which the main force is the light of the sun ... should be considered the best."

Technique of the original: Canvas, oil

Genre: Ships

Era: Painting of the 19th century

Year of creation of the original: 1852

Dimensions of the original, cm: 93.5х143

h. Calm sea

The sea ... Its boundless distance and radiant sunrises, the witchcraft of moonlit nights and the fury of storms have never been portrayed as poetically and inspiringly as IK Aivazovsky. The artist was very fond of the sea, he connected his work with it. In his works he created the image of a free and poetic sea element. He painted the Aivazovsky Sea at different times of the day and in different weather, depicting it as raging and calm. He perfectly knew the sea and the secrets of its movements. The artist annually traveled to the seas, studied the effects of lighting and the nature of the sea.

Technique of the original: Canvas, oil

Genre: Seascape

Era: Painting of the 19th century

Original production year: 1863

Dimensions of the original, cm: 45x58.5

and. Chesme battle

This battle took place during the Russo-Turkish War of 1768-1774. On the night of June 26, 1770, the Russian fleet entered the Chesme Bay, where the Turkish fleet was stationed. The Russian squadron consisted of 7 ships and four fire-ships. After an artillery duel between the squadrons, fire-ships went on the attack. ... The Russian detachment did not lose a single ship. The enemy burned 15 ships of the line, 6 frigates and over 30 ships of other classes, captured 1 ship of the line and 5 galleys. In a report on the results of the battle, Admiral G.A. Spiridov wrote: "The fleet was attacked, defeated, broken, burned, allowed into the sky, sunk and turned into ashes." These words of the official report convey to us the pride of the sailors who won in an unequal battle. The drama and tension of the night battle at Chesme A. conveys in the painting of 1848 by comparing two opposite elements - water and fire. Enemy ships blaze with huge bonfires, and the flames, tearing apart the darkness of the Mediterranean night, are reflected in the dark water of the bay. Russian ships stand out in clear silhouettes against the background of the flames. In the foreground, a lifeboat with the crew of Lieutenant Ilyin's fire-ship (which distinguished itself especially in battle) is seen returning to the squadron.

Technique of the original: Canvas, oil

Genre: Battle genre

Era: Painting of the 19th century

Year of original creation: 1848

Technique of the original: Canvas, oil

Genre: Battle genre

Era: Painting of the 19th century

Year of original creation: 1848

Dimensions of the original, cm: 193x183