Fishermen on the seashore 1852 Aivazovsky Ivan Konstantinovich “Fishermen on the seashore. h. Calm sea

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

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

The master was distinguished by his 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 lived another three hundred years,” said the artist, “I would always find something new in the sea.”

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

The artist discovered his method of depiction from memory, even without sketches, limiting himself to only cursory pencil sketches. Justifying this method, the artist said: “The movements of living elements are elusive to the brush: painting lightning, a gust of wind, a splash of a wave is unthinkable from life.”

The emerald play of the Black Sea surf has sunk. Subsequently, no matter how many seas he painted, he always ended up with clear green water with lilac laces of foam, characteristic of his native Euxinian Pontus. The most vivid impressions were connected with the sea; This is probably why he devoted all his work to depicting the sea. With equal power he could convey the brilliance of the sun's rays sparkling on the water, the transparency sea ​​depth and 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 mute and this deficiency was compensated for by heightened vision.

The strict critic I. N. Kramskoy wrote to P. M. Tretyakov: “Aivazovsky probably has the secret of composing paints, and even the paints themselves are secret; I have never seen such bright and pure tones even on the shelves of mosquito shops.”

Aivazovsky was influenced by the Dutch marine painters of the 17th century and came to the “watercolor” painting technique, when color is applied to the canvas in thin overlapping layers. This made it possible to convey the slightest color tonal gradations.

Aivazovsky began to paint a picture, depicting the sky, or as he called it, following his teacher at the Academy of Arts M. N. Vorobyov, air. No matter the size of the canvas, Aivazovsky painted “air” in one session, even if it lasted up to 12 hours in a row. It was with such a titanic effort that the transfer of airiness and integrity was achieved color range sky. 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 from a moving life sea ​​elements. The water in his paintings is a boundless ocean, not stormy, but swaying, harsh, endless. And the sky, if possible, is even more endless.

“The plot of the painting,” said the artist, “is formed in my memory, like the plot of a poem by a poet; having made a sketch on a piece of paper, I begin to work and do not leave the canvas until I express my thoughts on it with my brush.”

Speaking about his paintings, Aivazovsky noted: “Those paintings in which main strength- the light of the sun, ... must be considered the best."

Ivan Konstantinovich Aivazovsky “Fishermen on the seashore”, 1852

National Gallery of Armenia, Yerevan

Romanticism

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

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

The master was distinguished by his 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 lived another three hundred years,” said the artist, “I would always find something new in the sea.”

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

The artist discovered his method of depiction from memory, even without sketches, limiting himself to only cursory pencil sketches. Justifying this method, the artist said: “The movements of living elements are elusive to the brush: painting lightning, a gust of wind, a splash of a wave is unthinkable from life.”

As a child, he played on the shore of his native Feodosia, and from childhood the emerald play of the Black Sea surf sank into his soul. Subsequently, no matter how many seas he painted, he always ended up with clear green water with lilac laces of foam, characteristic of his native Euxinian Pontus. The most vivid impressions were associated with the sea; This is probably why he devoted all his work to depicting the sea. With equal power he could convey the brilliance of the sun's rays sparkling on the water, the transparency of the sea depths 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 mute and this deficiency was compensated for by heightened vision.

The strict critic I. N. Kramskoy wrote to P. M. Tretyakov: “Aivazovsky probably has the secret of composing paints, and even the paints themselves are secret; I have never seen such bright and pure tones even on the shelves of mosquito stores.”

Aivazovsky was influenced by the Dutch marine painters of the 17th century and came to the “watercolor” painting technique, when color is applied to the canvas in thin overlapping layers. This made it possible to convey the slightest color tonal gradations.

Aivazovsky began to paint a picture, depicting the sky, or as he called it, following his teacher at the Academy of Arts M. N. Vorobyov, air. No matter the size of the canvas, Aivazovsky painted “air” in one session, even if it lasted up to 12 hours in a row. It was with such a titanic effort that the conveyance of the airiness and integrity of the color scheme 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 moving sea element. The water in his paintings is a boundless ocean, not stormy, but swaying, harsh, endless. And the sky, if possible, is even more endless.

“The plot of the picture,” said the artist, “is formed in my memory, like the plot of a poem by a poet; Having made a sketch on a piece of paper, I begin to work and do not leave the canvas until I express myself on it with my brush.”

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

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

From an early age, he loved the sea very much, so he knew how to create a poetic and truthful image of the uncontrollable elements, to convey a romantic perception, to which he always remained faithful.

Distinguished by his picturesque, extraordinary thinking, Aivazovsky created his magnificent, bright combinations that amaze with their decorative sound. He stated that if he lived at least three hundred more 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 admiring the majestic, stunning beauty of nature and an integral part of the universe in man. The romantic “fictional” heroes of his paintings are, in their own way, self-portraits.

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

The emerald play of the Black Sea surf sank into his soul from childhood, when, as a child, he played on the coast of his native Feodosia. And all his paintings of the seas were subsequently painted with purple lace foam and green clear water, which is typical of his native coast.

Since all his most vivid impressions were associated with the sea, he probably devoted all his work to its images. He could convey with equal force the transparency of the sea depths, the snow-white foam sea ​​waves and the sparkling shine of the sun's rays on the water. Aivazovsky always began painting with an image of the sky, calling it air, just like his teacher M. Vorobiev. 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 color scheme. His desire to complete the work as quickly as possible was determined by his motive, not to lose the unity of mood and to convey to people a stopped moment of the moving life of the sea element. In Aivazovsky’s paintings, water is a boundless ocean, endless, harsh, swaying, but not stormy.

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

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

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

The master was distinguished by his 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 lived another three hundred years,” said the artist, “I would always find something new in the sea.”

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

The artist discovered his method of depiction from memory, even without sketches, limiting himself to only cursory pencil sketches. Justifying this method, the artist said: “The movements of living elements are elusive to the brush: painting lightning, a gust of wind, a splash of a wave is unthinkable from life.”

As a child, he played on the shore of his native Feodosia, and from childhood the emerald play of the Black Sea surf sank into his soul. Subsequently, no matter how many seas he painted, he always ended up with clear green water with lilac laces of foam, characteristic of his native Euxinian Pontus. The most vivid impressions were associated with the sea; This is probably why he devoted all his work to depicting the sea. With equal power he could convey the brilliance of the sun's rays sparkling on the water, the transparency of the sea depths 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 mute and this deficiency was compensated for by heightened vision.

The strict critic I. N. Kramskoy wrote to P. M. Tretyakov: “Aivazovsky probably has the secret of composing paints, and even the paints themselves are secret; I have never seen such bright and pure tones even on the shelves of mosquito shops.”

Aivazovsky was influenced by the Dutch marine painters of the 17th century and came to the “watercolor” painting technique, when color is applied to the canvas in thin overlapping layers. This made it possible to convey the slightest color tonal gradations.

Aivazovsky began to paint a picture, depicting the sky, or as he called it, following his teacher at the Academy of Arts M. N. Vorobyov - air. No matter the size of the canvas, Aivazovsky painted “air” in one session, even if it lasted up to 12 hours in a row. It was with such a titanic effort that the conveyance of the airiness and integrity of the color scheme 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 moving sea element. The water in his paintings is a boundless ocean, not stormy, but swaying, harsh, endless. And the sky, if possible, is even more endless.

“The plot of the painting,” said the artist, “is formed in my memory, like the plot of a poem by a poet; having made a sketch on a piece of paper, I begin to work and do not leave the canvas until I express my thoughts on it with my brush.”

Speaking about his paintings, Aivazovsky noted: “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 painting, painted shortly after returning from overseas, pleases with the freshness of its color and the perfectly conveyed feeling of moist air. Despite the sky covered with gray clouds, the landscape is permeated with the light of the sun's rays, transforming the water and the shore. A remarkable decoration of the canvas is a rainbow, which Aivazovsky, judging by the drawings in his American travel album, actually observed above the waterfall. The matte surface of the canvas and light painting style are common for the artist’s works of those years.

Genre: River landscape

Era: 19th century painting

Year of original creation: 1893

Original dimensions, cm: 126x164

and. Fishermen on the seashore

Aivazovsky began to paint a picture, depicting the sky, or as he called it, following his teacher at the Academy of Arts M.N. Vorobyov - air. No matter the size of the canvas, Aivazovsky painted “air” in one session, even if it lasted up to 12 hours in a row. It was with such a titanic effort that the conveyance of the airiness and integrity of the color scheme 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 moving sea element. The water in his paintings is a boundless ocean, not stormy, but swaying, harsh, endless. And the sky, if possible, is even more endless. The plot of the picture, said the artist, is formed in my memory, like the plot of a poem by a poet; Having made a sketch on a piece of paper, I begin to work and do not leave the canvas until I express myself on it with my brush.” Speaking about his paintings, Aivazovsky noted: “Those paintings in which the main force is the light of the sun... should be considered the best.”

Original technique: Oil on canvas

Genre: Ships

Era: 19th century painting

Year of original creation: 1852

Original dimensions, cm: 93.5x143

h. Calm sea

The sea... Its boundless distance and luminous sunrises, witchcraft moonlit nights and no one depicted the fury of storms as poetically and inspiredly as I.K. Aivazovsky. The artist loved the sea very much, and he connected his work with it. In his works he created the image of a free and poetic sea element. Aivazovsky wrote about the sea in different time days and in different weather, depicting it both raging and calm. He knew the sea and the secrets of its movements very well. The artist made annual trips to the seas, studying the effects of lighting and the nature of the sea.

Original technique: Oil on canvas

Genre: Seascape

Era: 19th century painting

Year of original creation: 1863

Original dimensions, cm: 45x58.5

And. Chesme fight

This fight took place during Russian-Turkish war 1768-1774. On the night of June 26, 1770, the Russian fleet entered 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, the fireships went on the attack. ... The Russian detachment did not lose a single ship. The enemy burned 15 battleships, 6 frigates and over 30 ships of other classes, captured 1 battleship and 5 galleys. In the report on the results of the battle, Admiral G.A. Spiridov wrote: “The fleet was attacked, smashed, broken, burned, sent into the sky, sunk and reduced to ashes.” These words of the official report convey to us the pride of the sailors who won the unequal battle. A. conveys the drama and tension of the night battle at Chesma in the 1848 painting by juxtaposing two opposing elements - water and fire. Enemy ships are burning with huge fires, and the flames, breaking 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 flames. In the foreground you can see the boat returning to the squadron with the crew of Lieutenant Ilyin’s fireship (which particularly distinguished itself in battle).

Original technique: Oil on canvas

Genre: Battle genre

Era: 19th century painting

Year of original creation: 1848

Original technique: Oil on canvas

Genre: Battle genre

Era: 19th century painting

Year of original creation: 1848

Original dimensions, cm: 193x183