Ivan Konstantinovich Aivazovsky lived from 1817 to 1900 and became famous as a Russian seascape painter and creator of naval battle scenes. He dedicated his canvases to the elements of the sea and the exploits of the Russian fleet. Aivazovsky is considered one of the most outstanding 19th-century artists of Armenian origin. In the records of the Feodosian Church, he was written down as Hovhannes Ayvazyan.
In addition to his native Feodosia, Yalta, and Gurzuf, Aivazovsky repeatedly visited Sevastopol, where he also painted the sea. The painting from the Lipetsk collection was created in the second half of the 19th century. The artist depicted a view of the city from the side of the Sevastopol Bay.
The work belongs to the period of the artist’s work, when the romance of the seascape was replaced by a calmer view of nature, the desire to convey the beauty and harmony of the surrounding world. The action takes place against a background of a bright evening landscape. A sailboat glides along the water, which is illuminated by the rays of the setting sun. The sails are inflated with a fair wind and seem to be golden.
The sunny path sparkles with gold in the azure waves. The light clouds in the high sky spread over the city and the sea. On the left, behind the sail, there is a sight of the city center — the Count’s Wharf. Two rows of Doric columns form a colonnade, which adorns the descent to the sea. The columns support a frieze and a cornice with a parapet. A little further on, there is a fortification — the Nikolaev battery with casemates.
The walls of Konstantinovsky Fort are on the right. The color palette is a combination of warm (yellow, orange, and pink) and cold (blue and turquoise) shades. The artist managed to achieve a smooth transition by rubbing paint into the canvas.
There is not a single sharp dissonant tone in the work; it seems to be illuminated from within. Ivan Konstantinovich Aivazovsky gave many works to his friends, acquaintances, residents of Feodosia and other Crimean cities. His creative heritage includes more than 6,000 artworks. Many works were in private collections in the early 20th century and were requisitioned and transferred to museums in the early years of Soviet power. The painting “Sevastopol” entered the Lipetsk Museum in this way as recorded in the report for 1919.
In addition to his native Feodosia, Yalta, and Gurzuf, Aivazovsky repeatedly visited Sevastopol, where he also painted the sea. The painting from the Lipetsk collection was created in the second half of the 19th century. The artist depicted a view of the city from the side of the Sevastopol Bay.
The work belongs to the period of the artist’s work, when the romance of the seascape was replaced by a calmer view of nature, the desire to convey the beauty and harmony of the surrounding world. The action takes place against a background of a bright evening landscape. A sailboat glides along the water, which is illuminated by the rays of the setting sun. The sails are inflated with a fair wind and seem to be golden.
The sunny path sparkles with gold in the azure waves. The light clouds in the high sky spread over the city and the sea. On the left, behind the sail, there is a sight of the city center — the Count’s Wharf. Two rows of Doric columns form a colonnade, which adorns the descent to the sea. The columns support a frieze and a cornice with a parapet. A little further on, there is a fortification — the Nikolaev battery with casemates.
The walls of Konstantinovsky Fort are on the right. The color palette is a combination of warm (yellow, orange, and pink) and cold (blue and turquoise) shades. The artist managed to achieve a smooth transition by rubbing paint into the canvas.
There is not a single sharp dissonant tone in the work; it seems to be illuminated from within. Ivan Konstantinovich Aivazovsky gave many works to his friends, acquaintances, residents of Feodosia and other Crimean cities. His creative heritage includes more than 6,000 artworks. Many works were in private collections in the early 20th century and were requisitioned and transferred to museums in the early years of Soviet power. The painting “Sevastopol” entered the Lipetsk Museum in this way as recorded in the report for 1919.
