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Hovhannes Aivazovsky


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Posted 27 January 2001 - 06:34 PM

Hovhannes Aivazovsky


Aivazovsky's Art is the art of Man and Humanity; it is the denunciation of oppression and despotism. He is the artist of the first for freedom, and the true advocate of Mother Nature.

Martiros Saryan



A sonnet by Hovh. Toumanian, 1893
(translation by Zohrab Heghinian)

Huge ripples of the unbated ocean,
Heavy spirals striking upward,
Forming as mountains, with an awesome roar,
The tempest breathing with fearful might
Unending in a vastness
With no edge.

"Rise up an stand"! Ordered brush in hand
That ancient wizard, angry at nature,
Hushed and obedient to the genius' voice,
The dark waves, at a time of storm,
On the canvas
Rise up now and stay forever. (translation by Rouben Rostamian)

Immense waves of unbated ocean
heavy spirals striking upward
rising sky high, and a roar awesome.
Dominion of the bellowing storm
unbounded and vast
with no end

Avast! thunders that ancient wizard
calling to the elements, brush in hand.
Hushed and obedient to the genius' voice
now the dark waves, in mid-storm
remain suspended
on the canvas


Biography: Hovhannes (Ivan) Aivazovsky is the most interesting phenomenon of 19th century art. He gained international fame at the age of 25, was elected a member to five European Academies and was awarded the medal of the French Legion of Honor. Delacroix referred to him in reverence and Turner called him a genius.

Aivazovsky's name is intricately bound with the sea. "Perhaps no one in Europe has painted the extraordinary beauty of the sea with so much feeling and expressiveness as Aivazovsky has", writes V. Adasov.

In his best seascapes (and in a legacy of about 6000, there are some works which condescend to his artistic ability and others which merit singular artistic attention) he has revealed his inner self through the spirit of the times, his ideals of humanism, and the love of freedom. The Artist lived by those ideals; the love that he had towards the oppressed, the help he offered and the work that he did for the public good make him an exceptional individual and a true son of his times.

Aivazovsky was born to an Armenian family in the city of Theodosia in the Crimea {The Artist's ancestors were called Aivazian. His father called himself Haivazosky. The Artist and his brother decided to call themselves Aivazian or Aivazovsky. Some of the Artist's work bears the signature Hovhannes Aivazian, in Armenian}. At the age of twenty he graduates from the Art Academy of St. Petersburg with a gold medal. He goes to Italy to continue his studies and returns as an internationally acclaimed seascape painter. Neither financial security nor life in Palace interests him. He returns to his native land, builds a workplace/home on the seashore and, until the last days of his life, dedicates himself to the work that he loves. He participates in exhibitions all over the world. He gets recognition and glory as a representative of Russian art greatly helps in familiarizing it.

In Aivazovsky's creative work one finds such aspects of Armenian culture and national temperament that it becomes impossible to separate his art from his native people. It is this characteristic that gives Aivazovsky's creativity its unique quality.

After the Russo-Persian war, in the beginning of he second quarter of the century, Eastern Armenia came under Russian rule. Western Armenia was still under Turkish rule. The Liberation movement in Greece and the Balkans became an incentive for the Armenia people. The surge of spiritual life found its reflection in art and literature.

Armenian artists received their education in European and Russian schools (Aivazovsky was one of the firsts) and thus were able to introduce new concepts into our national art. This process would later on culminate in the clarification and purification of our national artistic language.

Even in the early years, Aivazovsky had a vivid and emotional understanding of reality. He always remained a romantic at heart even through his art could never separate itself from his academic background. The Artist's expressive language was in complete harmony with the techniques that he used. As a young boy Aivazovsky had known the sea, had loved it passionately and had known the secrets of its movements. It was this memory, together with his imagination, that was responsible for his best works. Rather than merely "reproduce" the sea, Aivazovsky tells us its fables and thus makes a symbolic statement.

Aivazovsky made his mark in contemporary art through his own rules and his own world view; he was true both to his academic background and his romantic inclinations.

The magical aspect of light helps make the contact with the dreamlike quality of the Master's art. In the calm seascapes, man is either seen walking alone or sitting down with a thoughtful expression on his face, looking at the distance - towards the light. In the canvas entitled "The Mkhitarist Brothers on the Island of St. Lazare", for example, the island gives the impression of a ship in the sunset and the people seem to be travelers of hope and dreams.

The concept of light is all important to Aivazovsky. The perceptive viewer will observe that while painting the waves, clouds or sky space, the Artist's emphasis is on the light. In Aivazovsky's art light is the eternal symbol for life, hope and faith. This is light the Creator, the concept of which has its roots deep down in Armenian culture and its continuity in the next generation of Armenian artists. The Artist had heard the songs of the medieval poets glorifying light in the Armenian churches. In his last works ("Amidst the Waves") the light descends from an unseen source as mighty ray that pierces the darkness and establishes hope.

In the canvases depicting storms (which constitute more that half of Aivazovsky's legacy) man's solidarity to man is apparent in the struggle against the elements. Man does not give up; he triumphs. This is the expression of the popular trait of extreme optimism and resistance. The irony in Aivazovsky's romanticism is the faith that man (this tiny creature of the Universe) has in life and Nature. In the politically turbulent 19th century, it is this same unshakable faith that the Armenian people had in their struggle for self-determination.

The freedom loving spirit of the Artist was as much as expression of the times as it was a reflection of the destiny of his people. Inspired by Greek movement of liberation, he produced paintings depicting that struggle and wishes for a similar fate for the Armenians. He saw the salvation of his people in the nation whose adopted son he had become. The victory of the Russian fleet over Turks gave him hope that such a salvation was possible.

To eliminate "The Armenian Question", Sultan Abdul Hamid, in 1895, ordered a series of massacres which claimed the life of hundreds of thousands of Armenians. Numerous Armenian cultural monuments ware burned or destroyed. This tragic reality shocked the Artist: "My heart is full of grief for our ill-fated people; for this tragic and unprecedented massacre", he wrote to the Armenian Catholicos Khrimian. He threw into the sea the medal that the Sultan had given him years before. He painted and exhibited canvases depicting the massacre. It was with pain and grief that he painted his last canvas "The Explosion of the Turkish Ship", which he could not finish. The date was May 2nd, 1900.

Aivazovsky's house in Theodosia became a place for artistic pilgrimage. Armenian artists were invited there and actors and musicians performed there. It was there that artists like Bashinjagyan, Sureniants, Makhokhian and Shabanian started their creative life. Aivazovsky's dream was to create a union of Armenian artists from all over the world.

During his long period of creative life, and especially after 1868, Aivazovsky executed tens of canvases with Armenian themes. His landscapes depicting life in Tbilisi, Lake Sevan and Mount Ararat popularized the genre in Armenian art. He also had a series of works with themes from he bible and from ancient Armenian history. Two of his works, which were exhibited in the Church in Theodosia and have inspired patriotism ever since, are reproduced here for the first time.

It is impossible to appreciate 19th century Armenian art without Aivazovsky. It is equally impossible to ignore his Armenian roots and consider him a Russian artist. Today, the art of the great artist of the sea is seen as the most beautiful example of the close link between the Russian and Armenian cultures.

According to his wishes, Aivazovsky was buried in the Armenian Church of St. Sarkis in Theodosia. His tombstone has a quotation from historian Khorenatsi's "History of Armenians" - "Born a mortal, he left immortal memories". The "memories" condense in them the spirit of the times and the most precious spirit of all time - that of Humanism.

Shahen Khachatrian
Director of National Art Gallery
and Martiros Saryan Museum

#2 Yervant1

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Posted 09 November 2014 - 10:30 AM

London Bonhams Auction to Present Aivazovsky’s Works
Updated: November 7, 2014
Aivazovsky%E2%80%99s-%E2%80%9CArrival-of

Aivazovsky’s “Arrival of the Columbus flotilla to the American coast” (1892)

Ivan-Aivazovsky-264x300.jpg

Aivazovsky-Self-portrait-1874

LONDON — The works of Ivan Aivazovsky and Nicholas Roerich will be the main lots of the Bonhams auction taking place in London on November 26. One of the key lots will be Aivazovsky’s “Arrival of the Columbus flotilla to the American coast” (1892), evaluated 700-900 thousand pounds according to RIA Novosti that the press service.

This work of the great Armenian marine painter is from the series of the five works, devoted to the life of Columbus and was launched in 1888. The work is considered to be one of the most outstanding works of this series.

In 1892, the celebrated artist Ivan Aivazovsky embarked on a trip to the United States for the first and only time in his life. Invited to represent fine art at the 1893 World’s Columbian Exposition in Chicago, the seventy year old artist embraced the opportunity to showcase twenty of his finest paintings. His participation was well received and ensured the success of his contribution to the Columbian Exposition. The present masterpiece was among the most celebrated works exhibited at the Exposition. Arrival of the Columbus flotilla to the American coast belongs to a series of monumental paintings on the life of Christopher Columbus that Aivazovsky began as early as 1888. It is among the grandest and most beautiful of the paintings in the series, depicting the final and most significant stage of Columbus’ challenging journey to the New World: the moment at which the flotilla finally arrived on the shore of America.

Nearly a decade prior to beginning work on his Columbus series, Aivazovsky travelled to Genoa and Florence to research the explorer’s discovery of the New World. Taking note of the master Karl Briullov’s technique of extensive preparatory study of the scenery depicted in his legendary painting The Last Day of Pompeii, the artist closely studied Fifteenth Century ship design, as well as costumes and weapons from the era of Columbus, in preparation for his series of paintings on the subject of the eminent explorer. It is suggested that even as Aivazovsky embarked on his trip to Genoa and Florence in 1879, he was already dreaming of making a future trip to the United States.

Aivazovsky finally completed five large scale paintings on the life of Christopher Columbus in anticipation of the opportunity to exhibit them at the 1893 Columbia Exposition.

Arrival of the Columbus flotilla to the American coast is a splendid example of the artist’s masterful composition and skillful rendering of atmospheric effects. The sky is depicted with remarkable lightness; the airy, transparent clouds add depth to the pastel blue expanse, glowing as if lit from within the center of the canvas. The light plays off the calm waters of the ocean creating a sense of stillness in contrast to the gentle motion of the foamy waves crashing on the sandy coast. To the right, mountainous forms descend into atmospheric perspective past a green stretch of palms, drawing our eyes to the rocky formation in the center of the painting. Two groups of Native Americans pause to look and point at the approaching flotilla; two ships, only their outlines discernible in the distance, stand anchored while two smaller boats carry Columbus’ explorers to the shore of the New World for the first time.

Aivazovsky achieved the remarkable lightness and transparency of his backgrounds by using thin applications of semi-transparent color washes. Consistent with his technique, the sky in the Arrival of the Columbus flotilla to the American coast is the most delicately rendered part of the composition. Working quickly, Aivazovsky would evenly apply a thin wash of color over the prepared ground of the canvas without waiting for it to dry, in order to seamlessly blend the colors to create this stunning effect of airiness. In contrast, the rocky coast is heavy, massive and dark against the pale water and sky.

The work Columbus, encircled by his retinue disembarks at the shore in San Salvador Island’ (originally the largest of these monumental works), was later cut into two parts and sold as two separate paintings by an international auction house in 2006 and 2008. When the second part of the painting was offered at auction, it was incorrectly given the title ‘Arrival of the Columbus flotilla to the American coast.’ It is evident that more accurately, this title as it appeared on Aivazovsky’s handwritten list refers instead to the present painting, recently discovered in a private American collection.

At the 1893 Columbian Exposition in Chicago, Arrival of the Columbus flotilla to the American coast was exhibited at the Russian Pavilion, a monumental architectural masterpiece in itself. Designed by I. Ropet to resemble traditional Russian wooden architecture, it was one of the largest and most impressive structures at the Exposition. Occupying nearly an acre of space, the Pavilion demonstrated a marvel of traditional carving technique and the fanciful decorativeness of Russian architecture. ‘The Official Directory of the World’s Columbian Exposition’ described the Russian contribution to the Fine Arts pavilion as ‘what is probably the best collection of Russian paintings ever shown at a foreign Exposition.’ Aivazovsky’s paintings were exhibited among the ‘great works’ of his contemporaries – Ilya Repin, Henrik Semiradsky and Konstantin Makovsky (Moses P. Handy, The Official Directory of the World’s Columbian Exposition, Chicago.

In addition to attending the 1893 Columbian Exposition, Aivazovsky planned to travel around the United States for approximately five or six months. On October 13, 1892, he arrived with his wife in New York, the first stop on his tour of the United States. The couple then visited San Francisco and Washington, D.C., among other cities. Everywhere they travelled, the artist was greeted with enthusiasm and great public interest. Unfortunately, the trip was cut short and Aivazovsky had to return to Russia before the Exposition opened. Nevertheless, the display of Aivazovsky’s paintings at the Columbian Exposition became one of the most successful international exhibits of his life. The present painting, with its spacious composition, nuanced color palette and detailed scenery brilliantly demonstrates the remarkable imagination and painterly talent of the celebrated Russian master.



#3 Arpa

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Posted 09 November 2014 - 01:29 PM

Here is the original of that sonnet by Toumanian.
Do you know who the above translator is? I do.

ԱՅՎԱԶՈՍԿՈՒ ՆԿԱՐԻ ԱՌՋԵՒ

Ելած օվկիանի անզուսպ ալիքեր,
Ծանըր յորձանքով զարկելով դէպ վեր,
Լեռնանում էին , գոռալով ահեղ,
Եւ մրրիկն ուժգին շընչում էր այնտեղ
Աներզր ու անվերջ
Տարածութեան մէջ:

Կանքնեցէք գոչեց վրձինը ձեռքին
Կախարդ ծերունին յուզուած տարերքին.
Ու լուռ, հնազանդ հանճարի ձայնին,
Մութ ալիքները, փոթորկի ժամին,
Կտաւի վըրայ
Կանքնած են ահա:





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