Ivan Konstantinovich Aivazovsky (1817-1900) is considered among the greatest marine artists in history. Originally baptised as Hovhannes Aivazian, he was born into an Armenian family in the Black Sea port city of Feodosia, Crimea. Aivazovsky spent most of his life there and is celebrated for his influence on Romantic marine painting.
Following his education at the Imperial Academy of Arts in Saint Petersburg, Aivazovsky embarked on an artistic journey across Europe, spending a brief period in Italy in the early 1840s. Upon his return to Russia, he was appointed as the official painter of the Russian Navy. This role not only connected him with the military and political elite of the Russian Empire but also allowed him to attend naval exercises and military manoeuvres. He received state sponsorship and garnered significant acclaim during his lifetime. The phrase "worthy of Aivazovsky's brush," popularised by playwright Anton Chekhov, became a colloquial expression in Russia to describe something extraordinarily beautiful, and Aivazovsky's legacy endures into the 21st century, with ongoing popularity in Russia.
Aivazovsky emerged as one of the foremost artists of his era, enjoying considerable recognition beyond the Russian Empire. He held numerous exhibitions throughout Europe and the United States, captivating audiences with his works. Over nearly six decades, Aivazovsky created approximately 6,000 paintings, establishing himself as one of the most prolific artists of his time. His primary focus was seascapes, although he also crafted battle scenes, pieces reflecting Armenian culture, and portraits. A significant number of his works can be found in museums across Russia, Ukraine, Armenia, and Turkey, as well as in private collections.
Born on 29 July 1817, in Feodosia, Aivazovsky was recorded in the baptismal records of the local St. Sargis Armenian Apostolic Church as Hovhannes, son of Gevorg Aivazian. During his artistic education in Saint Petersburg, he was known in Russia as Ivan Gaivazovsky. By around 1840, while in Italy, he became recognised as Aivazovsky, a name he would eventually adopt. In a letter from 1844, he even signed his name in an Italianised version: "Giovani Aivazovsky." Aivazovsky's father, Konstantin, originally an Armenian merchant from Galicia, had moved through several regions, including Moldavia and Bukovina, before finally settling in Feodosia. His mother, Ripsime, also hailed from an Armenian background. The couple had five children, with Aivazovsky's elder brother, Gabriel, becoming a historian and an Armenian Apostolic archbishop.
Young Aivazovsky received an education at Feodosia's St. Sargis Armenian Church and was tutored in drawing by local architect Jacob Koch. In 1830, he moved to Simferopol with a local governor's family and later attended a Russian gymnasium there. His ambitious journey continued in 1833 when he arrived in Saint Petersburg, where he studied painting under Maxim Vorobiev. In 1836, Aivazovsky had a pivotal encounter with the national poet Alexander Pushkin, and by 1837, he graduated from the Academy with a gold medal, completing his studies ahead of schedule. In 1840, Aivazovsky travelled to Europe for further study, beginning in Venice, where he connected with his brother Gabriel and explored Armenian manuscripts. He was significantly influenced by Italian art, and his exposure to various European cultures and techniques greatly shaped his artistic style.
Aivazovsky's return to Russia in 1844 marked the beginning of his prestigious career as an academician of the Imperial Academy of Arts, solidifying his legacy in the world of art.
Aivazovsky died on 19 April 1900 in Feodosia. In accordance with his wishes, he was buried in the courtyard of St. Sargis Armenian Church. A white marble sarcophagus was made by Italian sculptor L. Biogiolli in 1901.
After his death, his wife Anna led a generally secluded life, living in several rooms she had retained after nationalisation, until 1941. She died on 25 July 1944 and was buried next to Aivazovsky. Two of his daughters (Maria and Alexandra) left Russia following the Revolution of 1917, while the other two died shortly thereafter: Yelena in 1918 and Zhanna in 1922.
