Aivazovsky without the sea. Unknown paintings by the great seascape

The sea and Aivazovsky's been half a century — synonyms. Say "Aivazovsky" — think of the sea and seeing the sea of the sunset or the storm, the sailing boat or foaming surf, no wind or sea breeze, uttered: "Clean Aivazovsky!"

Not know Aivazovsky difficult. But today, I will show you Ayvazovsky rare. Aivazovsky unexpected and unusual. Aivazovsky, which you may not even immediately recognize. In short, Aivazovsky without the sea.

It's a graphic self-portraits of Aivazovsky. Perhaps, here he's unrecognizable. And more like its own beautiful image (see below), and the good of his friend, with whom in his youth traveled to Italy, Nikolai Gogol. Self-portrait on the left — neither give nor take Gogol, composing "Dead souls" littered with drafts for table.

Even amusement — a self-portrait on the right. Why not with a palette and brushes, and with a violin? Because the violin was for many years Aivazovsky faithful friend. No one remembered who gave her 10-year-old Johannes, a boy from a large and poor family of Armenian immigrants in Feodosia. Of course, to hire a teacher the parents could not afford. But it is not needed. Hovhannes learned to play the itinerant musicians Theodosia Bazaar. The hearing had turned out to be great. Aivazovsky was able to pick up by ear any melody, any tune.

Violin beginner artist brought with him to St. Petersburg, played "for the soul." Often when Hovhannes made useful contacts and started going in the light, he was asked to play the violin. Having a docile nature, Aivazovsky has never wavered. In the biography of the composer Mikhail Glinka, written by Vsevolod assumption, there is such a fragment: "One day the Puppeteer Glinka met with a student of the Academy of arts, Aivazovsky. He masterfully sang the wild song of the Crimean sitting tartare on the floor rocking and holding his chin from the violin. Tatar melodies Aivazovsky loved Glinka, his imagination since his youth was attracted to the East... Two songs came over time, lezginka, and the third scene of the third act of the Opera "Ruslan and Lyudmila"".

The interesting question is: why the picture Aivazovsky doesn't put his violin to his chin and holds it like a cello? Biographer Julia Andreeva explains this feature as: "According to numerous testimonies of contemporaries, the violin he was holding in Eastern fashion, resting her left knee. Thus he could simultaneously play and sing".

And this self-portrait of Aivazovsky's just for comparison: in contrast to the less well-known previous one, the reader is probably familiar to it. But if the first Aivazovsky reminded of Gogol, this, with sleek sideburns — Pushkin. By the way, this was Natalia Nikolaevna, the wife of the poet. When the couple Pushkin the exhibition at the Academy of arts presented Aivazovsky, Natalia kindly notice that the artist its appearance is very similar to her portraits of young Alexander.

At first (and if we ignore legends and only) meeting with Pushkin, Aivazovsky asked two questions. First — when meeting is more than predictable: where the artist come from? But the second is unexpected and even somewhat familiar. Pushkin asked Aivazovsky, does not freeze if he, the southern people, in St. Petersburg? Would know Pushkin, how he was right. All winter at the art Academy of young Hovhannes and really dramatically cold.

The halls and classes walk drafts, teachers Kuta in shawls behind. The 16-year-old Hovhannes Aivazovsky adopted in the class of Professor Maxim Vorobyov, from the cold numb frisky fingers. He feels chilly, wrapped in not heating, smeared with jacket, all the while coughing.

It is especially difficult at night. The moth-eaten quilt can not warm up. All members binds chills, tooth for tooth, somehow cold, especially the ears. When the cold keeps you awake, a student Aivazovsky Feodosiya recalls and warm sea.

Staff physician the Overlock scribbling President of the Academy Venison reports about the poor health of Hovhannes: "Academics Aivazovsky, was transferred a few years before this in St. Petersburg from the southern edge of Russia and that of the Crimea, since his stay here always felt unhealthy and many times have been used by me in the academic infirmary, suffering like this before, and is now chest pain, dry cough, shortness of breath while climbing stairs and a strong heartbeat".

Is it because and "Crossing the river", a rare creativity Aivazovsky Petersburg landscape, it looks like the teeth from the imaginary cold? It was written in 1877-m, the Academy a long time ago behind, and the feeling permeating the cold Northern Palmyra — left. He heaved the gigantic ice floes on the Neva. Through the cold misty purple paint the sky emerges the Admiralty. Cold tiny people in the wagon. Chilly, anxiety — but also fun. And it seems, so many new, unknown, interesting, there, in front, behind a veil, covered in hoar frost of the air.

The state Russian Museum in St. Petersburg keeps a sketch Aivazovsky "Betrayal of Judas". It is made on grey paper with white and Italian pencil. In 1834 Aivazovsky was prepared by painting on a biblical subject on the instructions of the Academy. Hovhannes was by nature quite secretive, liked to work alone and absolutely could not comprehend as his idol Karl Bryullov able to write in any gathering of people.

Aivazovsky, on the contrary, to work preferred solitude, so when presented the fellow of the Academy of "Betrayal of Judas", it was a complete surprise. Many simply could not believe that 17-year-old provincial only in the second year of training can do that.

And then his detractors have come up with an explanation. Because that is a waste Aivazovsky all the time from a collector and patron of Alexei Romanovich Tomilov of? While meeting and Bryullov is, and Poussin, and Rembrandt, and who knows who else. Certainly ingenious Hovhannes just copied out of some little-known in Russia European masters and passed them off as his own.

Fortunately for Aivazovsky, President of the Academy of arts Alexei Nikolaevich Olenin was about the "Betrayal of Judas" is of a different opinion. Venison is so impressed with the skill of Hovhannes that he has bestowed a high mercy were invited to stay with him in the estate of Priyutino, where there were Pushkin and Krylov, Borovikovsky and Venetsianov, Kiprensky and Bryullov brothers. Honor for novice academics unheard of.

By 1845, the 27-year-old Aivazovsky, whose seascapes already thundering across Europe from Amsterdam to Rome, and pay tribute to in Russia. He gets a "Anna on the neck" (the order of St. Anne 3rd degree), the title of academician, 1500 acres of land in the Crimea in 99-year use and importantly — an official naval uniform. The naval Ministry for merits before Fatherland assigns Aivazovsky first painter of the Main Naval staff. Now Aivazovsky are obliged to pass in all Russian ports and for all ships wherever he wished to go. And in the spring of 1845, at the urging of Grand Duke Konstantin Nikolayevich of the artist included in the Maritime expeditions of Admiral Litke in Turkey and Asia Minor.

By the time Michelangelo had already traveled all Europe (in his passport more than 135 visas, and customs officers tired to finish that off there new page), but on the lands of the Ottomans have not yet visited. For the first time he sees Chios and Patmos, Samos and Rhodes, Sinope and Smyrna, Anatolia and the Levant. And most of all he was impressed Constantinople: "Voyage of mine, wrote Aivazovsky with his Imperial Highness Konstantin Nikolaevich was extremely pleasant and interesting, everywhere I have time to jot down sketches for paintings, especially in Constantinople, from which I in admiration. Probably nothing in the world greater than this city, there is forgotten and Naples, and Venice."

"Coffee house by the Ortakoy mosque" by Aivazovsky is the ideal image of Turkey. Perfect — for peace. Relaxed sitting on embroidered cushions and immersed in the contemplation of, the Turks drink coffee, inhale hookah smoke, listen to unobtrusive music. Flowing molten air. Time flows in between fingers like sand. Nobody is in a hurry — there's no hurry: everything you need for fullness of being is already focused in the present moment.

Not to say that Aivazovsky the landscape "windmills in the Ukrainian steppe..." unrecognizable. Wheat field in the sunset rays — almost like subluxate the sea surface and the mill — same frigates: some wind inflates the sails, others — turns the blades. Where and when Aivazovsky was able to take a break from the sea and interested in the Ukrainian steppe?

Perhaps, when for a short time, moved his family from Feodosiya to Kharkiv? Not idly moved, and hastily evacuated. In 1853 Turkey declared war on Russia in March 1854, joined England and France — began the Crimean war. In September the enemy was already in Yalta. Aivazovsky urgently needed to save the family — wife, four daughters, the old mother. "With sincere regret, — said the artist one of the correspondents — we had to leave our lovely Crimea, leaving his entire fortune, acquired by his works in fifteen years. In addition to his family, mother 70 years old, had to take with you and all the family, we stopped in Kharkov as the next town to the South and inexpensive for modest life".

The biographer writes that in a new place Aivazovsky's wife Julia Graves, prior to that actively helping her husband in the Crimea in his archaeological excavations and ethnographic research, "tried to inspire Aivazovsky archaeology or scenes of little life". Because Julia wanted her husband and father stayed with the family longer. It did not work: Aivazovsky rushed to the besieged Sevastopol. A few days under bombardment from nature, he wrote naval battles, and only a special order of Vice-Admiral Kornilov was forced fearless artist to leave the theater of operations. However, in the heritage of Aivazovsky quite a lot of ethnographic genre scenes and landscapes Ukrainian: "Chumaky on vacation", "Wedding in Ukraine", "Winter scene in little Russia" and others.

Portraits of Aivazovsky left relatively little. But this gentleman here, he wrote more than once. However, it is not surprising: Alexander Ivanovich Kaznacheyev the artist considered the "second father." When Michelangelo was still young, treasurers served as the mayor of Feodosia. In the late 1820-ies he increasingly began to receive complaints: the city someone is naughty, he paints the fences and whitewashed with lime walls of the houses. The mayor went to inspect the paintings. The walls were adorned with figures of soldiers, sailors and silhouettes of the ships, induced samovar coal, I must say, very believable. After some time, the city architect Koch announced Kaznacheeva that found the author of these "graffiti". It was 11-year-old Hovhannes, the son of the headman of the Bazaar Gevorg Aivazovskogo.

"You draw well, — has agreed, after meeting with "criminal", the treasurers, but why on other people's walls?!" However, he immediately realized Aivazovskii so troubled that you can't buy son's drawing materials. And treasurers did it himself, instead of punishment, he gave Hovhannes stack of good paper and a box of paints.

Hovhannes began to visit the house of the mayor, became friends with his son Sasha. And when in 1830 the treasurers became the Governor of Tavria, he took Aivazovsky turned into a family member, in Simferopol, there to boy could learn in high school, and three years later made every effort to Hovhannes enrolled in the Imperial Academy of arts.

When growing up and became famous Aivazovsky will always return to live in the Crimea, it will maintain friendly relations with Alexander Ivanovich. And even in a sense, will be to imitate his "called father," vigorously supporting the poor and destitute and founded the "General workshop" — art school for local talented youth. And Aivazovsky at the handwritten draft and for the personal funds will be erected in honor of Kaznacheeva in Feodosiya the fountain.

November 17, 1869 and was opened to the navigation of the Suez canal. Through the Egyptian desert, he joined the Mediterranean and Red sea and has become the conventional boundary between Africa and Eurasia. Miss this event and curious and still greedy for impressions 52-year-old Aivazovsky could not. He arrived in Egypt as part of the Russian delegation and became the world's first marine, who wrote the Suez canal.

"Those paintings in which the main force — the light of the sun... must be considered the best," was always convinced Aivazovsky. And the sun in Egypt was in excess — just works. Palm trees, sand, pyramids, camels, the far desert horizons "in the Caravan oasis" — all that remained of the paintings of Aivazovsky.

And the artist left an amusing memories of the first meeting of Russian songs and the Egyptian desert: "When a Russian ship entered the Suez canal, who was walking ahead of his French steamer ran aground, and swimmers were forced to wait, while it will be removed. This stop lasted five hours.

To reduce the time that passengers of the Russian ship gave an impromptu vocal concert by Ms. Kireeva, possessing a beautiful voice, he assumed the duties of singers, harmonious choir picked up...

And here on the coast of Egypt sounded the song of "mother Volga", about the "dark forest" on the "open field" and rushed through the waves, serebranny the moon was shining brightly at the turn of two continents..."

Maybe someone will be a surprise to learn that Ivan Konstantinovich Aivazovsky was a true adherent of the Armenian Apostolic Church, one of the oldest, by the way, Christian churches. The Armenian Christian community was in Feodosia, and the Synod was located in the "heart of Armenia" — the town of Echmiadzin.

Big brother Sargis Aivazovsky (Gabriel) became a monk, later Archbishop and a prominent Armenian educator. For the artist his religious affiliation was not an empty formality. About the most important events of his life, for example about the wedding, he made known to Echmiadzin Synod: "Married August 15, 1848, Julia, daughter of James Graves, an Englishman-a Lutheran, but married in the Armenian Church and with the condition that the children from this marriage, too, be baptized in the Holy Armenian fonts".

When family life discord Aivazovsky will have to seek permission to divorce.

In 1895 in Feodosia Aivazovsky comes high guest — Catholicos Khrimyan, head of the Armenian Church. Aivazovsky took him to Old Crimea, where the ruins of the churches he erected a new and even wrote for her altarpiece. At a gala dinner for 300 people in Feodosia, the Catholicos promised the artist: "I, khrimian hayrik, in one hand a cross, another the Bible, I will pray for you and for my poor Armenian people". In the same year, inspired by Aivazovsky write now "Catholicos khrimian in the surroundings of Echmiadzin".

Five years later, 82-year-old Aivazovsky will not. His grave in the courtyard of the ancient temple is decorated with the inscription in Armenian: "Born a mortal, left the immortal memory of himself".

It would be unfair to the reader to finish our story about the paintings of Aivazovsky, where there is no sea, a fact of death of the artist. Moreover, touching upon many important biographical milestones, we never talked about love.

When Aivazovsky was neither more nor less than 65 years old, he fell in love. And fell in love with a very boyish — from the first sight and in the circumstances, the least which had to romance. He rode in a carriage through the streets of Feodosia and crossed paths with the funeral procession, which was clad in black, a young beautiful woman. The artist believed that in his native Feodosia knows everyone by name, but he as if saw for the first time and had no idea who she falls to the deceased: daughter, sister, wife. Checked: turned — widow. 25. Name is Anna im sarkizova, nee Burnazyan.

Her late husband left Anna's estate with a marvelous garden and great wealth for the Crimea — the source of fresh water. Quite wealthy, self-sufficient woman, besides 40 years younger Aivazovsky. But when the artist, trembling and not believing in the possibility of happiness, made her an offer, im sarkizova took it.

A year later, Aivazovsky confessed to a friend in a letter: "Last summer I entered into marriage with one lady, the widow of Armenian. Previously it was not acquainted, but that's about the good of her name heard much. To live now I was relaxed and happy. With his first wife for 20 years is not live and not seeing her for 14 years. Five years ago the Synod of Echmiadzin and Catholicos of letting me divorce... but that's a very afraid to tie my life with a woman of another nation, so no tears to shed. These things happened by God's grace, and I sincerely thank you for the congratulations".

17 years they will live in love and harmony. As in his youth, Aivazovsky will be a lot and incredibly productive writing. And yet he has time to show your favorite ocean: a 10-year marriage they will sail to America via Paris and, according to legend, this beautiful pair will often be the only people on the ship, not prone to sea-sickness. While most of the passengers, huddled in the cabins, pitching and waited out the storm, Aivazovsky and Anna serenely admiring the sea.

After the death of Anna Aivazovsky for more than 40 years (and will she live to 88-mi) will become a voluntary recluse: no guests, no interviews, no more trying to arrange a personal life. There is something strong-willed and at the same time mysterious in the eyes of a woman whose face is half-hides gas veil-like translucent surface of the water with the sea her great husband, Ivan Aivazovsky.