Winter scene in Ukraine. Winter landscapes of ivan aivazovsky

Mill, 1874

Winter landscape, 1874

Isaac's Cathedral on a frosty day
The painting "St. Isaac's Cathedral on a Frosty Day" was sold at Christie's

Winter landscape. Private collection

Winter train on the way, 1857. Smolensk Art Gallery

Winter scene in Little Russia

Winter view

A little biographical note:
Ivan Konstantini Ayvazyan was born on July 29, 1817 in Feodosia in the family of an Armenian market headman Konstantin (Gevorg) Ayvazyan. Thanks to the efforts of the Feodosia mayor A.I. Kaznacheev, a gifted young man in 1833 entered the St. Petersburg Academy of Arts. Soon the young talented painter met leading artists, writers, musicians: Pushkin, Zhukovsky, Glinka, Bryullov. Since 1840, the artist began to sign his paintings with the name "Aivazovsky". At the age of 27, he became an academician of landscape painting at the St. Petersburg Academy of Arts.
Traveling to different countries and sailing the seas, participating in the landing operations of the Black Sea Fleet near the Caucasian shores, made Aivazovsky a high professional - a marine painter. He did not want to live in the capital city - he bought a piece of land in his beloved Feodosia and built a house there with an art workshop. According to the last will, Aivazovsky was buried in Feodosia, in the courtyard of the Church of St. Sergius, where he was baptized and where he was married. The gravestone inscription - the words of the 5th century historian Movses Khorenatsi, carved in ancient Armenian - reads: "Born mortal, left an immortal memory."

These are the graphic self-portraits of Aivazovsky. Perhaps here he is unrecognizable. And he looks more like not his own picturesque images (see below), but like his good friend, with whom he traveled around Italy in his youth, Nikolai Vasilyevich Gogol. Self-portrait on the left - neither give nor take Gogol, composing "Dead Souls" at a table littered with drafts!

Even more entertaining is the self-portrait on the right. Why not with a palette and brushes, but with a violin? Because the violin was a faithful friend to Aivazovsky for many years. Nobody remembered who gave it to 10-year-old Hovhannes, a boy from a large and poor family of Armenian settlers in Feodosia. Of course, the parents could not afford to hire a teacher. But this was not needed. Hovhannes was taught to play by itinerant musicians at the Feodosia bazaar. His hearing was excellent. Aivazovsky could pick up any song, any melody by ear.

The aspiring artist brought the violin with him to St. Petersburg. I played "for the soul." Often on a visit, when Hovhannes made useful acquaintances and began to be in the world, he was asked to play the violin. Possessing an agreeable character, Aivazovsky never refused to play. In the biography of the composer Mikhail Glinka, written by Vsevolod Uspensky, there is the following fragment: “Once at the Puppeteer Glinka met a student of the Academy of Arts Aivazovsky. He masterfully sang a wild Crimean song, sitting on the floor in Tatar, swaying and holding the violin at his chin. Glinka liked Aivazovsky's Tatar tunes very much, his imagination from his youth was attracted by the East ... Two tunes eventually entered the Lezginka, and the third - into Ratmir's scene in the third act of the opera Ruslan and Lyudmila.

Aivazovsky will take the violin with him everywhere. On the ships of the Baltic squadron, his playing entertained the sailors, the violin sang to them about warm seas and a better life. In St. Petersburg, when he first saw his future wife Julia Grevs at a social reception (she was just the governess of the host's kids), Aivazovsky did not dare to introduce himself - instead, he would again pick up the violin and start a serenade in Italian.

An interesting question is why in the drawing Aivazovsky does not rest the violin on his chin, but holds it like a cello? Biographer Yulia Andreeva explains this feature as follows: “according to numerous testimonies of contemporaries, he held the violin in an oriental manner, resting it on his left knee. Thus, he could play and sing at the same time. "

Self-portrait
1874, 74 × 58 cm

And this self-portrait of Aivazovsky is just for comparison: unlike the not so widely known previous ones, the reader is probably familiar with it. But if at first Aivazovsky reminded us of Gogol, then on this one, with sleek sideburns - Pushkin. By the way, this was the opinion of Natalya Nikolaevna, the poet's wife. When Aivazovsky was presented to the Pushkin couple at an exhibition at the Academy of Arts, Natalya Nikolaevna kindly noted that the artist, in his appearance, reminds her very much of the portraits of the young Alexander Sergeevich.



Petersburg. Crossing the Neva
Ivan Constantinovich Aivazovski
1870-th, 22 × 16 cm

At the first (and if we ignore the legends, then the only) meeting, Pushkin asked Aivazovsky two questions. The first is more than predictable for a dating situation: where does the artist come from? But the second one is unexpected and even somewhat familiar. Pushkin asked Aivazovsky if he, the southern man, was freezing in Petersburg?

If Pushkin knew how right he turned out to be! All winters at the Academy of Arts, young Hovhannes is really terrible, just catastrophically freezing.

There are drafts in the halls and classrooms, the teachers are wrapping their backs in downy shawls. At 16-year-old Hovhannes Aivazovsky, who was admitted to the class of Professor Maxim Vorobyov, frisky fingers go numb from the cold. He chills, wraps himself in a jacket that is not at all warming, stained with paint, and coughs all the time.

It is especially difficult at night. The blanket wasted by the moth does not allow you to keep warm. All limbs are constrained by chills, the tooth does not fall on the tooth, for some reason, the ears are especially freezing. When the cold prevents sleep, student Aivazovsky recalls Feodosia and the warm sea.

The head physician Overlach scribbles to the President of the Academy Olenin reports about the unsatisfactory health of Hovhannes: “Academician Aivazovsky, having been transferred several years before this to St. Petersburg from the southern edge of Russia and from the Crimea, from his very stay here always felt unhealthy and already use it many times I was in the academic hospital, suffering, both before and now, chest pain, dry cough, shortness of breath when climbing stairs and a strong heartbeat. "

Is it not because of this that "Crossing the Neva", a Petersburg landscape rare for Aivazovsky's work, looks like it makes his teeth ache from the imaginary cold? It was written in 1877, the Academy is long behind, but the feeling of the piercing cold of Northern Palmyra remains. Giant ice floes have risen on the Neva. The Admiralty needle appears through the cold hazy colors of the purple sky. It's cold for the tiny people in the carriage. Chilly, alarming - but also fun. And it seems that there is so much new, unknown, interesting - there, in front, behind a veil of frosty air.

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Primarily, Ivan Aivazovsky was remembered by descendants as an outstanding marine painter. Seascapes were given to him excellently, despite the fact that the artist never painted them on the high seas. But apart from the seascapes, Ivan Konstantinovich's collection contained paintings with "land" subjects. Aivazovsky's winter landscapes, which fascinate from the very first second, have become a real rarity.

Most people associate the name of Ivan Konstantinovich Aivazovsky with paintings on the marine theme, but true connoisseurs of the artist's work know that he painted not only marinas. Its winter landscapes deserve special attention.

The painting "Winter Landscape" was painted in 1876. Judging by the fact that the road has not yet been covered with snow, the author probably depicted the beginning of winter. Careful selection of colors allows you to understand that the trees are covered with frost and ice crust.

To convey the "harsh breath" of winter, the artist used shades of blue, gray, pink, sky blue. When looking at some of the canvases, it seems that the wind is about to blow, or the sound of trees is heard.

Throughout his life, Aivazovsky painted about 6 thousand paintings. During the life of the painter, 120 of his personal exhibitions took place.

Ivan Aivazovsky was lucky to become a recognized and sought-after artist. However, despite the general adoration around,

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Ivan Kostantinovich Aivazovsky - the most outstanding artist - the Armenian of the XIX century Hovhannes Ayvazyan.
Aivazovsky's ancestors were from the Galician Armenians who moved to Galicia from Turkish Armenia in the 18th century. A family tradition has also survived that there were Turks among his ancestors: the artist's father told him that the artist's great-grandfather on the female side was the son of a Turkish military leader and, as a child, when Azov was captured by Russian troops in 1696, was saved from death by a certain Armenian, who he baptized and adopted him.

Ivan Aivazovsky discovered artistic and musical abilities from childhood. I learned to play the violin on my own. The Feodosia architect Yakov Kokh was the first to draw attention to the boy's artistic abilities. He gave him paper, pencils, paints, taught him skills, helped him to enter the Feodosia district school. Then Aivazovsky graduated from the Simferopol gymnasium and was admitted at public expense to the Imperial Academy of Arts in St. Petersburg. Was assigned to the fashionable French landscape painter Philippe Tanner. But Tanner forbade Aivazovsky to work independently. Despite this, on the advice of Professor Alexander Ivanovich Sauerweid, he managed to prepare several paintings for the exhibition of the Academy of Arts. Tanner complained about Aivazovsky's arbitrariness to Emperor Nicholas I; by order of the tsar, all the paintings were removed from the exhibition, despite enthusiastic reviews from critics.

The conflict was neutralized thanks to Sauerweid, in whose class six months later a novice young artist was assigned to practice maritime military painting. In 1837 Aivazovsky received the Great Gold Medal for the painting "Calm". This gave him the right to a two-year trip to the Crimea and Europe. There, in addition to creating seascapes, he was engaged in battle painting and even took part in hostilities on the coast of Circassia. As a result, he painted the painting "A trooper of a detachment in the length of Subashi", which was acquired by Nicholas I. At the end of the summer of 1839 he returned to St. Petersburg, received a certificate of graduation from the Academy, his first rank and personal nobility.

In 1840 he went to Rome. For his paintings of the Italian period he received the Gold Medal of the Paris Academy of Arts. In 1842 he went to Holland, from there - to England, France, Portugal, Spain. During the trip, the ship on which the artist was sailing was caught in a storm and nearly sank in the Bay of Biscay. The Parisian newspapers even reported his death. After a four-year journey in the fall of 1844, Aivazovsky returned to Russia and became a painter of the General Naval Staff, and since 1947 - a professor at the St. Petersburg Academy of Arts, was also a member of the European academies in Rome, Paris, Florence, Amsterdam and Stuttgard.
Ivan Konstantinovich Aivazovsky painted mainly seascapes. His career has been very successful. He was awarded many orders and received the rank of Rear Admiral. In total, the artist wrote more than 6 thousand works.

From 1845 he lived in Feodosia, where he opened an art school with the money he earned, which later became one of the artistic centers of Novorossia, initiated the construction of the Feodosia - Dzhankoy railway, built in 1892. He was actively involved in the city's affairs and its improvement.
At his own expense, he built a new building for the Feodosia Museum of Antiquities, for services to archeology he was elected a full member of the Odessa Society of History and Antiquities.

In 1848 Ivan Konstantinovich got married. His wife was Yulia Yakovlevna Grevs, an Englishwoman, the daughter of a staff doctor who was in the Russian service. They had four daughters. But due to Aivazovsky's unwillingness to live in the capital, Yulia Yakovlevna left her husband after 12 years. However, the marriage was dissolved only in 1877. In 1882, Aivazovsky met Anna Nikitichna Sarkisova. Aivazovsky saw Anna Nikitichna at the funeral of her husband, a famous Feodosia merchant. The beauty of the young widow struck Ivan Konstantinovich. A year later they got married.

The texture of the canvas, high-quality paints and large-format printing allow our reproductions by Ivan Aivazovsky to match the original. The canvas will be stretched onto a special stretcher, after which the picture can be framed in the frame of your choice.

Happy New Year to all our readers!
Everyone, everyone, everyone - many, many joyful, good, kind, beautiful!
We are heading towards aesthetics and positive!
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Winter landscapes of the seascape painter I.K. Aivazovsky

I.K. Aivazovsky. Winter landscape, 1876

Mill, 1874

Winter landscape, 1874

Winter landscape

Isaac's Cathedral on a frosty day

Winter train on the way, 1857

Winter scene in Little Russia

Winter view

A small biographical note: Ivan Konstantinovich Ayvazyan was born on July 29, 1817 in Feodosia in the family of the bazaar headman of the Armenian Konstantin (Gevorg) Ayvazyan. Thanks to the efforts of the Feodosia mayor A.I. Kaznacheev, a gifted young man in 1833 entered the St. Petersburg Academy of Arts. Soon the young talented painter met leading artists, writers, musicians: Pushkin, Zhukovsky, Glinka, Bryullov. Since 1840, the artist began to sign his paintings with the name "Aivazovsky". At the age of 27, he became an academician of landscape painting at the St. Petersburg Academy of Arts. Traveling to different countries and sailing the seas, participating in the landing operations of the Black Sea Fleet near the Caucasian shores, made Aivazovsky a high professional - a marine painter. He did not want to live in the capital city - he bought a piece of land in his beloved Feodosia and built a house there with an art workshop. According to the last will, Aivazovsky was buried in Feodosia, in the courtyard of the Church of St. Sergius, where he was baptized and where he was married. The gravestone inscription - the words of the 5th century historian Movses Khorenatsi, carved in ancient Armenian - reads: "Born mortal, left an immortal memory."