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



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.


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:

#4 Yervant1


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Posted 13 September 2017 - 08:56 AM

Panorama, Armenia
Sept 12 2017
Not only Armenian but also foreign experts point to Ayvazovsky’s Armenian descent - Marina Hakobyan


The National Gallery of Armenia (NGA) is set to open an exhibition dedicated to the 200th birth anniversary of the world-famous seascape painter Hovhannes (Ivan) Aivazovsky on 15 September. The exhibition titled “Hovhannes Aivazovsky: Creation” features 52 paintings, 26 graphic works, 1 work of the decorative-applied art and 20 documentary materials. Apart from the exhibition, an academic conference is planned to discuss different aspects of the diverse activity and the rich creative legacy of one of the greatest masters of marine art.

“The conference of such a scale dedicated to the seascape painter is unprecedented for the Gallery,” Graphic Department Manager at NGA Marina Hakobyan told a press conference on Tuesday.

Hakobyan specifically pointed to the fact that the conference is attended not only by Armenian experts, specialists, art critics, but also art collectors, publishers from Theodosia, Moscow and St. Petersburg largest museums, cultural centers, guests from the UK and USA.

Among the guests of the conference are Director of the Ayvazovsky Museum in Theodosia Tatyana Gayduk, the Head of the section of paintings from the 19th and 20th centuries at the State Tretyakov Gallery Galina Churak, Director of the State Russian Museum Vladimir Gusev, others.

Among foreign guests are art critic, longtime researcher of Aivazovsky’s creativity and author of number of books and articles Ivan Samarin from London, researcher, one of the biggest collectors of Ayvazovsky’s works Andreas Rubian from the US who will deliver reports. 

“Not only the scope of the experts but also the topic of the conference itself is quite interesting and multifaceted. For sure, Ayvazovsky is the cornerstone of the event but not the only one. It is expected to introduce works of not only Armenians Alkhazyan, Tadevosyan of the late 19th and early 20th century, but also Courbet and Monet of the Western Europe,” said Hakobyan, who will act as the coordinator of the conference.

She informed that in total 21 speakers will deliver reports, adding: ”New aspects of the Ayvazovsky art that never previously raised will be presented. Most of the speakers both Armenians and foreigners point to the Armenian descent of the seascape painter. That was especially highlighted in the scope of the exhibition opened last year at Tretyakov Gallery”

Responding to the question about the change of the painter’s surname (Hovhannes Aivazian), she said the conference will address the matter with expected documents and materials to be presented when and how that happened.

“Initially, the painter’s letters were signed by a surname Gayvazian then changed to Aivazian. His brother, who was member of the Mkhitarian Congregation at the St. Lazarus Island in Venice, however, kept his original surname - Gabriel Aivazian. The painter moved to other environments, subsequently changing his surname,” Hakobyan explained.



#5 Yervant1


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Posted 14 September 2017 - 09:03 AM

My grandmother talked about her grandfather Ivan Aivazovsky all the time


Armenia, Russia and Ukraine, with commemorative stamps, coins and exhibitions, are commemorating the 200th anniversary of the birth of the world-famous seascape artist Ivan Aivazovsky (Hovhannes Aivazian). It was a pleasant surprise to learn that descendants of the famed marine painter live in Australia. My first contact was Amanda Rogers, who gave me details about her family’s links to Ivan Aivazovsky. Later she put me in touch with her cousin Prof. Andrew Miller, a radiation oncologist from Wollongong. The first interview concentrated mainly on the family history and the links to Ivan Aivazovsky. This is the transcript of the interview that was aired on SBS Radio Armenian program on Tuesday July 25, 2107.

Language Armenian

By Vahe Kateb


SBS Armenian: Before proceeding to the main subject of the interview, could you introduce yourself, talk about your career and interests?

Andrew: My name is Alexis Andrew Miller. I was born into a family which on my father's side was quite Australian for 3-4 generations, but with a mother who was born overseas. I am a radiation oncologist living in Wollongong NSW. Although my mother spoke many languages, I only speak English. In the 50s and 60s it was un-Australian to teach your children a foreign language if not needed. In fact, my parents’ generation used their foreign languages so that we could not understand what was being discussed.


SBS Armenian: What can you tell us about your family background and heritage?

Andrew: My mother was named Sultana Alexis. She was born in Turkey of Russian parents. The name Alexis came from her father, Alexis Samoilov. In fact, there is an Alexis in each generation now. My eldest daughter is also Alexis. The use of the name Sultana was to attempt to lessen the prejudice of Muslim people towards Christians in that area at that time. My grandmother told me that they were called "Christian dogs". This was real as my grandmother almost killed her children as they were starving. Fortunately for me, she did not take action on the thought and the event led to significant changes in her life, eventually meeting and marrying a British naval officer, William Henry Rogers.


My grandmother was born Varvara Lampsi. Her father was Ivan Lampsi and was Aivazovsky's grandson through his daughter Alexandra. In fact, Ivan's wife died soon after birth, Ivan was unable to care for the baby and so his brother Kolya and grandmother Alexandra raised her in Aivazovsky's mansion in Theodosia. We have a picture of Vava sitting on Aivazovsky's knee from 1896 when she was ~2 years old.



SBS Armenian: How you discovered your families’ heritage links to Aivazovsky?

Andrew: I spent about half of my childhood living with my grandmother, so the Aivazovsky link was well known to me for as long as I can remember. She spoke of him as if he was her grandfather, and she recalled his house and character often. She had this way of telling us that "we have no idea", and finding out more about her living circumstance with the privileges of wealth, I increasingly understand what she meant. The echoes of many famous people occupy the family mansion.

My cousins have only come into the knowledge of Aivazovsky more recently. Having been immersed in the knowledge of IKA, it never occurred to me that they didn't know.


SBS Armenian: Did you know much about Aivazovsky, his work and how revered he is in Armenia and Russia?

Andrew: I did not see any of Aivazovsky's works until I was already out of school. The only publications about IKA were Russian and not available in Australia. My mother took an overseas trip in the 1970s, and she brought back a book and some prints for each child. Unfortunately, mine has bleached nearly completely. However, to find how revered he was, that was far more simple. One only needed to ask a Russian or Armenian! "No-one paints the sea like Aivazovsky!" was the common reply.


SBS Armenian: Since discovering your family’s links to Aivazovski, have you done any research about Aivazovski and his family?

Andrew: While my grandmother was alive, she was the prime source of information but she was very good at keeping what she thought should be a secret. Now we want to shout everything from the rooftop, but their generation knew about shame and intrigue. My sister was told many more stories that I was! There were always holes in the stories that I was told. So I was told "they met", my sister was told "they had an affair"! I was told "he was a friend", she was told "He wanted to marry me!"

After she died and I inherited her remaining papers, I began to follow leads as well as I could. Hence the letter to the Theodosia Gallery. However, I do know that Vava burnt a lot of papers in the months before she died because she wanted the secrets to go to the grave with her.


SBS Armenian: Have you found any new relatives?

Andrew: There were four IKA daughters. who married men named Lampsi, Lattri, Hansen and Artseulov. There are relatives in each of these lines.

The Russian Revolution resulted in the dispersal of many of Aivazovsky's descendants. They were stripped of resources and singled out for subjugation. As a result, the Lampsi and Lattri lines became refugees and traveled from Theodosia to land and settle in Gerze on the northern Turkish coast south of Sinop. It is strange how things intertwine but one of IKA's famous naval paintings is the Battle of Sinop, where the Russians decimated the Ottoman fleet. The refugee ship was actually owned by the grandson-in-law of IKA, Everico Mickeladze. He was from the Georgian royal family and a judge in the Crimea. I believe that he escaped on the ship also by I don't have any documentary confirmation of this. My details on the Hansen line are sketchy at present, but Hansen was a German ambassador according to my grandmother, and so would have been immune to the political upheavals of Russia. My grandmother, Vava, and her husband, Alexis arrived in Gerze ~1919-1929 and had 2 children, my mother Sultana Alexis and my uncle Dimitri.

In 1998 I wrote to the Theodosia Gallery introducing myself and asking if there were any relatives known. As best as I could translate the reply, I was astonished to find a relative. About 18 months later in 2000 I received an email from a relative telling me that there were others.

The Lampsi line consists of 27 living relatives in Melbourne, Sydney, Canberra, Hobart and Wollongong. I belong to the oldest generation of that line.

The Lattri line continued and lives in England. Dr Henry Sanford who comes from the generation before mine is 90 and still lives in Chelsea. he has a son, daughter and granddaughter.

The Hanzen line continues but only through marriage. Our prime contact in Russia, Irina Kazatskaya, comes from this line, and was the relative who sent the email in 2000. She told us about the Lattri line and that a great granddaughter of IKA was still alive in Paris.

My youngest brother, David, became very passionate about the family history and in 2002 visited Theodosia and met Tatiana the great granddaughter in Paris.

Through his efforts we know about the Artseulov line. Until recently we know of a musician in NY named Nick Artsay who is a descendant. In the last few weeks, we have heard again from Irina that there are other Artseulov relatives in Moscow. The Artseulov line is famous because the grandsons of that line had stellar military careers. One was a pilot and was the first to document how to get your plane out of a spin.


SBS Armenian: Have you researched about the history of Armenia and Armenians?

Andrew: I have researched some Armenian history. I know of the position of Armenia and the fact that they go against the trend. I know that their history has been proud and distinct but frequently overrun by surrounding nations in their ascendancy. This has always resulted in hardship for the Armenians who seem to me to want nothing more than to pursue their aims of trade to ensure their future and of cultural preservation to ensure their distinctiveness. These desires culminated in the Armenian genocide. I know that Australians, who identify with the underdog, had a special relationship with the Armenians. I have a book about this which unfortunately I have not read yet.

One of my colleagues, Dr Roland Alvandi-Yeghaian was born in Iran of Armenian parents and through him I have learnt of the Armenian Diaspora. He has impressed on me that just one drop of Armenian blood makes you entirely Armenian in his mind!


SBS Armenian: Any other topic not covered and you want to talk about it?

Andrew: After the war, the family consisting of William Henry Rogers, Vava, Sultana and Dimitri decided that they wanted to live somewhere where there was no war and likely to be no war. They selected Commonwealth countries, and as a merchant ship captain started travelling the globe. Australia was the place that fit the bill, and so they stopped in Melbourne, bought a property in Blackburn and remained there until they died in the 1990s. Blackburn is 17 km from Melbourne, and at the time was all orchards. There were two houses on the street. Both William Henry and Vava are buried in Box Hill cemetery.



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