Today is world-famous Armenian painter Hovhannes Aivazovsky's birthday
Hovhannes (Ivan) Aivazovsky was a Russian painter of Armenian origin. Aivazovsky was born on 29 July, 1817, in the city of Feodosia (Theodosia), Crimea, Russian Empire. In the baptismal records of the local St. Sargis Armenian Church, Aivazovsky was listed as Hovhannes, the son of Gevorg Aivazian.
He is considered one of the greatest marine artists in history. Following his education at the Imperial Academy of Arts, Aivazovsky traveled to Europe and lived briefly in Italy in the early 1840s. He then returned to Russia and was appointed the main painter of the Russian Navy. Aivazovsky had close ties with the military and political elite of the Russian Empire and often attended military maneuvers. He was sponsored by the state and was well-regarded during his lifetime. The saying "worthy of Aivazovsky's brush", popularized by Anton Chekhov, was used in Russia for "describing something ineffably lovely."
One of the most prominent Russian artists of his time, Aivazovsky was also popular outside Russia. He held numerous solo exhibitions in Europe and the United States. During his almost 60-year career, he created around 6,000 paintings, making him one of the most prolific artists of his time. The vast majority of his works are seascapes, but he often depicted battle scenes, Armenian themes, and portraiture. Most of Aivazovsky's works are kept in Russian, Ukrainian and Armenian museums as well as private collections.
His father, Konstantin, (c. 1765–1840), was an Armenian merchant from the Polish region of Galicia. His family had migrated to Europe from Turkish Armenia in the 18th century. After numerous familial conflicts, Konstantin left Galicia for Moldavia, later moving to Bukovina, before settling in Feodosia in the early 1800s. He was initially known as Gevorg Aivazian (Haivazian or Haivazi), but he changed his last name to Gaivazovsky by adding the Polish "-sky". Aivazovsky's mother, Ripsime, was a Feodosia Armenian. The couple had five children—three daughters and two sons. Aivazovsky's elder brother, Gabriel, was a prominent historian and an Armenian Apostolic archbishop.
The young Aivazovsky received parochial education at Feodosia's St. Sargis Armenian Church. He was taught drawing by Jacob Koch, a local architect. Aivazovsky moved to Simferopol with Taurida Governor Alexander Kaznacheyev's family in 1830 and attended the city's Russian gymnasium. In 1833, Aivazovsky arrived in the Russian capital, Saint Petersburg, to study at the Imperial Academy of Arts in Maxim Vorobiev's landscape class. In 1835, he was awarded with a silver medal and appointed assistant to the French painter Philippe Tanneur (fr). In September 1836, Aivazovsky met Russia's national poet Alexander Pushkin during the latter's visit to the Academy. In 1837, Aivazovsky joined the battle-painting class of Alexander Sauerweid and participated in Baltic Fleet exercises in the Gulf of Finland. In October 1837, he graduated from the Imperial Academy of Arts with a gold medal, two years earlier than intended. Aivazovsky returned to Feodosia in 1838 and spent two years in his native Crimea. In 1839, he took part in military exercises in the shores of Crimea, where he met Russian admirals Mikhail Lazarev, Pavel Nakhimov and Vladimir Kornilov.
In 1840, Aivazovsky was sent by the Imperial Academy of Arts to study in Europe.He first traveled to Venice via Berlin and Vienna and visited San Lazzaro degli Armeni, where an important Armenian Catholic congregation was located and his brother Gabriel lived at the time. Aivazovsky studied Armenian manuscripts and became familiar with Armenian art. He met Russian novelist Nikolai Gogol in Venice. He then headed to Florence, Amalfi and Sorrento. In Florence, he met painter Alexander Ivanov. He remained in Naples and Rome between 1840 and 1842. Aivazovsky was heavily influenced by Italian art and their museums became the "second academy" for him. According to Rogachevsky the news of successful exhibitions in Italy reached Russia. Pope Gregory XVI awarded him with a golden medal. He then visited Switzerland, Germany, the Netherlands and Britain, where he met English painter J. M. W. Turner who, "was so struck by Aivazovsky's picture The Bay of Naples on a Moonlit Night that he dedicated a rhymed eulogy in Italian to Aivazovsky." In an international exhibition at the Louvre, he was the only representative from Russia. In France, he received a gold medal from the Académie royale de peinture et de sculpture. He then returned to Naples via Marseille and again visited Britain, Portugal, Spain and Malta in 1843. Aivazovsky was admired throughout Europe. He returned to Russia via Paris and Amsterdam in 1844.
Ivan Aivazovsky is one of the few Russian artists to achieve wide recognition during their lifetime. The Brockhaus and Efron Encyclopedic Dictionary explicitly described him as the "best Russian marine painter" (лучший русский маринист) in 1890.
Today, he is considered as one of the most prominent marine artists of the 19th century, and, overall, one of the greatest marine artists in Russia and the world. He was also one of the few Russian artists to become famous outside Russia. In 1898, Munsey's Magazine wrote that Aivazovsky is "better known to the world at large than any other artist of his nationality, with the exception of the sensational Verestchagin". Although according to art historian Janet Whitmore he is relatively unknown in the west.
Ivan Kramskoi, one of the most prominent Russian artists of the nineteenth century, praised him thus: "Aivazovsky is—no matter who says what—a star of first magnitude, and not only in our [country], but also in history of art in general." Another Russian painter, Alexandre Benois, suggested that "Aivazovsky stands apart from the general history of the Russian school of landscape painting." The State Russian Museum website continues, "It is hard to find another figure in the history of Russian art enjoying the same popularity among amateur viewers and erudite professionals alike."
In nineteenth-century Russia, his name became a synonym for art and beauty. The phrase "worthy of Aivazovsky's brush" was the standard way of describing something ineffably lovely. It was first used by Anton Chekhov in his 1897 play Uncle Vanya. In response to Marina Timofeevna's (the old nurse) query about the fight between Ivan Voynitsky ("Uncle Vanya") and Aleksandr Serebryakov, Ilya Telegin says that it was "A sight[b] worthy of Aivazovsky's brush" (Сюжет, достойный кисти Айвазовского Syuzhet, dostoyniy kisti Ayvazovskovo).
Aivazovsky has always been considered an Armenian painter in his ancestral homeland and virtually always referred to there by his original Armenian name, Hovhannes. Aivazovsky is highly regarded in Armenia and his significance in Armenian art is greatly valued. He was the "most remarkable" Armenian painter of the 19th century, and the first ever Armenian marine painter. He was born outside Armenia proper, and like his contemporaries, including Gevorg Bashinjaghian, Panos Terlemezian, and Vardges Sureniants, Aivazovsky lived outside his homeland, drawing primary influences from European and Russian schools of art. His creativity and viewpoint have been attributed to his uniquely Armenian roots. According to Sureniants, he sought to create a union which would have brought together all Armenian artists around the world. The prominent Armenian poet Hovhannes Tumanyan wrote a short poem titled "In front of Aiazovsky's painting" («Այվազովսկու նկարի առջև») in 1893. It is inspired by painting of the sea by Aivazovsky, mostly likely from the 1870s–1890s.
Aivazovsky was the most influential seascape painter in nineteenth-century Russian art. According to the Russian Museum, "he was the first and for a long time the only representative of seascape painting" and "all other artists who painted seascapes were either his own students or influenced by him."
Arkhip Kuindzhi (1841/2–1910) is cited by Krugosvet encyclopedia as having been influenced by Aivazovsky. In 1855, at age 13–14, Kuindzhi visited Feodosia to study with Aivazovsky, however, he was engaged merely to mix paints and instead studied with Adolf Fessler, Aivazovsky's student. A 1903 encyclopedic article stated: "Although Kuindzhi cannot be called a student of Aivazovsky, the latter had without doubt some influence on him in the first period of his activity; from whom he borrowed much in the manner of painting." English art historian John E. Bowlt wrote that "the elemental sense of light and form associated with Aivazovsky's sunsets, storms, and surging oceans permanently influenced the young Kuindzhi."
Aivazovsky also influenced Russian painters Lev Lagorio, Mikhail Latri, and Aleksey Ganzen (the latter two were his grandsons).
Monuments in Crimea, Armenia and Russia stand in Aivazovsky's memory. A statue of the artist can be found in front of the Feodosia Art Gallery, his former home. A statue of Aivazovsky and his brother Gabriel is located in Simferopol, Crimea's administrative center. Aivazovsky's first statue in his ancestral homeland was unveiled in Yerevan in 2003. Aivazovsky's first and only statue in Russia was erected in 2007 in Kronstadt, near Saint Petersburg.
Aivazovsky's paintings began appearing in auctions (mostly in London) in the early 2000s. His works have risen steadily in auction value. Many of his works are bought by Russian oligarchs. In 2004, his Saint Isaac's Cathedral On A Frosty Day, a rare cityscape, unexpectedly sold for around £1 million ($1.9 million). In 2007, his painting American Shipping off the Rock of Gibraltar auctioned at £2.71 million, "more than four times its top estimate". It was, "the highest price paid at auction for Aivazovsky" at the time. In April 2012, a canvas belonging to the artist View of Constantinople and the Bosphorus (1856) was sold at Sotheby's for a record $5.2 million (£3.2 million), "well over its top estimate of £1.8m". In June 2015 Sotheby's withdrew from auction an 1870 Aivazovsky painting Evening in Cairo, which was estimated at £1.5–2 million ($2–$3 million), after the Russian Interior Ministry claimed that it was stolen in 1997 from a private collection in Moscow.
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