Ivan Konstantinovich Aivazovsky (Russian: ?????????????????????????? <; 29 July 1817 - May 2, 1900) is a Russian Romantic painter who is regarded as one of the greatest marine art masters. Baptized as Hovhannes Aivazian , he was born to an Armenian family at the Black Sea port of Feodosia in the Crimea and is largely based there.
After his education at the Royal Art Academy in Saint Petersburg, Aivazovsky traveled to Europe and stayed briefly in Italy in the early 1840s. He then returned to Russia and was appointed prime painter of the Russian Navy. Aivazovsky has close ties to the military and political elite of the Russian Empire and often attends military maneuvers. He was sponsored by the state and respected throughout his life. The saying "worthy of the brush Aivazovsky", popularized by Anton Chekhov, used in Russia to describe something beautiful. He remains very popular in Russia.
One of the most prominent Russian artists of his time, Aivazovsky was also popular outside Russia. He held many solo exhibitions in Europe and the United States. For nearly 60 years of his career, he created some 6,000 paintings, making him one of the most prolific artists of his day. Much of his work is a seascape, but he often portrays scenes of combat, Armenian themes, and portraits. Most of Aivazovsky's works are kept in Russian, Ukrainian and Armenian museums, as well as private collections.
Video Ivan Aivazovsky
Life
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Ivan Aivazovsky was born on July 17 (29 in the New Style) 1817 in the city of Feodosia (Theodosia), Crimea, the Russian Empire. In the baptismal note of St. Sargis's Armenian Apostolic Church, Aivazovsky is listed as Hovhannes, son of Gevorg Aivazian (Armenian: ????????????? ???? ????????? ). During his studies at the Imperial Academy of Arts, he was known in Russia as Ivan Gaivazovsky (?????????????????????????????????????????????????????? ?????????????????????????????????????? She is known as Aivazovsky since c. 1840 , while in Italy He signed a letter in 1844 with the Italian version of his name: Giovani Aivazovsky.
His father, Constantine, ( c. 1765 -1840), was an Armenian merchant from the Polish region of Galicia. His family migrated to Europe from Western Armenia in the 18th century. After many family conflicts, Constantine left Galicia for Moldavia, then moved to Bukovina, before settling in Feodosia in the early 1800s. He was originally known as Gevorg Aivazian (Haivazian or Haivazi), but he changed his last name to Gaivazovsky by adding "-sky" Poles. Mrs. Aivazovsky, Ripsime, is an Armenian Feodosia. The couple has five children - three daughters and two sons. Aivazovsky's elder brother, Gabriel, was a prominent historian and archbishop of Apostolic Armenia.
Education
Young Aivazovsky received parish education at St. Sargis Armenian in Feodosia. He was taught drawing by Jacob Koch, a local architect. Aivazovsky moved to Simferopol with the family of Taurida Governor Alexander Kaznacheyev in 1830 and attended the Russian gymnasium in the city. In 1833, Aivazovsky arrived in the Russian capital, Saint Petersburg, to study at the Imperial Art Academy in the landscape class of Maxim Vorobiev. In 1835, he was awarded a silver medal and a designated assistant for the French painter Philippe Tanneur (fr). In September 1836, Aivazovsky met the Russian national poet Alexander Pushkin during his last visit to the Academy. In 1837, Aivazovsky joined the Alexander-Sauerweid painting-fighting class and participated in Baltic Baltic practice in the Gulf of Finland. In October 1837, he graduated from the Imperial Art Academy with a gold medal, two years earlier than intended. Aivazovsky returned to Feodosia in 1838 and spent two years in his native Crimea. In 1839, he took part in military training on the Crimean coast, where he met Russian admiral Mikhail Lazarev, Pavel Nakhimov and Vladimir Kornilov. He learned how to be someone.
First visit to Europe
In 1840, Aivazovsky was sent by the Imperial Academy of Arts to study in Europe. He first traveled to Venice via Berlin and Vienna and visited the San Lazzaro degli Armeni, where an important Armenian Catholic congregation was located and his brother Gabriel lived at the time. Aivazovsky studied Armenian manuscripts and became familiar with Armenian art. He meets Russian novelist Nikolai Gogol in Venice. He then headed to Florence, Amalfi and Sorrento. In Florence, he met the painter Alexander Ivanov. He remained in Naples and Rome between 1840 and 1842. Aivazovsky was strongly influenced by Italian art and their museum became his "second academy" for him. According to Rogachevsky news about the successful exhibition in Italy reached Russia. Pope Gregory XVI awarded him a gold medal. He then visited Switzerland, Germany, the Netherlands and England, where he met British painter JMW Turner who, "was fascinated by the photo of Aivazovsky the Bay of Naples on a Cloudy Night of the Month which he dedicated a rhyming speech in Italy to Aivazovsky. "In an international exhibition at the Louvre, he is the sole representative of Russia. In France, he received a gold medal from the AcadÃÆ'Â © nie royale de peinture et de sculpture. He then returned to Naples via Marseille and again visited England, Portugal, Spain, and Malta in 1843. Aivazovsky was admired throughout Europe. He returned to Russia via Paris and Amsterdam in 1844.
Return to Russia and first marriage
Upon his return to Russia, Aivazovsky became an academy of the Royal Arts Academy and was appointed as "an official Russian navy artist to paint seascapes, beach scenes and sea battles." In 1845, Aivazovsky traveled to the Aegean Sea with Duke Konstantin Nikolayevich and visited the Ottoman capital, Constantinople, and the Greek islands of Patmos and Rhodes.
In 1845, Aivazovsky settled in his hometown of Feodosia, where he built houses and studios. He isolated himself from the outside world, keeping a small circle of friends and relatives. But solitude played a negative role in his artistic career. In the mid-nineteenth century, Russian art moved from Romanticism to a different style of Russian Realism, while Aivazovsky continued to paint Romantic landscapes and drew strong criticism.
In 1845 and 1846, Aivazovsky attended the maneuvers of the Black Sea Fleet and the Baltic Fleet at Petergof, near the imperial palace. In 1847, he was granted the title of professor of seascape painting by the Imperial Art Academy and was appointed to the nobility level. In the same year, he was elected to the Royal Academy of Arts and Sciences of the Netherlands.
In 1848, Aivazovsky married Julia Graves, an English nanny. They have four daughters: Elena (1849), Mary (1851), Alexandra (1852) and Joanne (1858). They separated in 1860 and divorced in 1877 with permission from the Armenian Church, as Graves was a Lutheran.
Rise to fame
In 1851, traveling with the Russian emperor Nicholas I, Aivazovsky sailed to Sevastopol to participate in military maneuvers. His archaeological excavations near Feodosia led to his election as a full member of the Russian Geographical Society in 1853. That year, the Crimean War erupted between Russia and the Ottoman Empire, and he was evacuated to Kharkiv. While safe, he returns to the besieged Sevastopol fortress to paint a battle scene. His work was exhibited in Sevastopol when under siege of Ottoman.
Between 1856 and 1857, Aivazovsky worked in Paris and became the first Russian (and non-French) artist to receive the Honorary Legion. In 1857, Aivazovsky visited Constantinople and was awarded the Order of Medjidie. In the same year, he was elected an honorary member of the Moscow Art Association. He was awarded the Order of the Greek Redeemer in 1859 and the Russian Order of St. Vladimir in 1865.
Aivazovsky opened an art studio in Feodosia in 1865 and was awarded a salary by the Imperial Arts Academy in the same year.
In the 1860s, the artist produced several paintings inspired by Greek nationalism and Italian unification. In 1868, he once again visited Constantinople and produced a series of works on Greek resistance against Turks during the Great Crisis Revolution. In 1868, Aivazovsky traveled in the Caucasus and visited the Russian part of Armenia for the first time. He painted several mountainous landscapes and in 1869 held an exhibition at Tiflis. Later that year, he traveled to Egypt and took part in the opening ceremony of the Suez Canal. He became "the first artist to paint the Suez Canal, which marks the events that created the epoch in the history of Europe, Africa and Asia."
In 1870, Aivazovsky was appointed Acting Civil Adviser, the fourth highest civilian rank in Russia. In 1871, he began the construction of an archaeological museum in Feodosia. In 1872, he traveled to Nice and Florence to showcase his paintings. In 1874, the Accademia di Belle Arti di Firenze (Academy of Fine Arts of Florence) asked him for a self-portrait hanged in the Uffizi Gallery. In the same year, Aivazovsky was invited to Constantinople by Sultan AbdÃÆ'¼laziz who later granted him the Osmanieh Turkish Order. In 1876, he was appointed a member of the Art Academy in Florence and became the second Russian artist (after Orest Kiprensky) to paint self portraits for Palazzo Pitti.
Aivazovsky was elected honorary member of the Royal Arts Academy of Stuttgart (de) in 1878. He traveled to the Netherlands and France, stayed briefly in Frankfurt until 1879. He then visited Munich and traveled to Genoa and Venice "to gather material on the American discovery by Christopher Columbus. "
In 1880, Aivazovsky opened an art gallery at his home in Feodosia; it became the third museum in the Russian Empire, after the Hermitage Museum and the Tretyakov Gallery. Aivazovsky held a 1881 exhibition at Pall Mall London, attended by British painter John Everett Millais and Edward VII, Prince of Wales.
Second marriage and subsequent life
Aivazovsky's second wife, Anna Burnazian, is a young Armenian widow 40 years her junior. Aivazovsky said that by marrying him in 1882, he "became closer to his nation", referring to the Armenians. In 1882, Aivazovsky visited Moscow and St Petersburg and then toured the Russian countryside by traveling along the Volga River in 1884.
In 1885, he was promoted to the rank of Personal Advisor. The following year, the 50th anniversary of his creative worker, was celebrated with exhibitions in St. Petersburg, and honorary membership at the Imperial Academy of Fine Arts.
After personally meeting Aivazovsky, Anton Chekhov wrote a letter to his wife on 22 July 1888 which described it as follows:
After traveling to Paris with his wife, in 1892 he traveled to the United States, visiting Niagara Falls in New York and Washington D.C. In 1896, at the age of 79, Aivazovsky was promoted to the rank of full private board member.
Aivazovsky was deeply affected by the Hamidian massacre that occurred in the Armenian-occupied territories of the Ottoman Empire between 1894 and 1896. He painted a number of works on subjects such as the Turkish Ship Wars and the Armenian Massacre at Trebizond >. He threw the medal given to him by the Ottoman Sultan into the sea and told the Turkish consul in Feodosia: "Tell your thirsty master that I have thrown away all the medals given to me, this is their tape, send it to him and if he wants, he can throw them into the ocean of my painting. "He created several paintings on the show, such as The Armenian Massacre at Trebizond (1895), Lonely Vessel . Tragedy in the Sea of ​​Marmara (1897).
He spent his last years in Feodosia. In the 1890s, thanks to his efforts, a commercial port was erected in Feodosia and connected to the Russian imperial rail network. The railway station, opened in 1892, is now called Ayvazovskaya and is one of two stations in the city of Feodosia. Aivazovsky also supplies Feodosia with drinking water.
Death
Aivazovsky died on April 19 (May 2 in New Style) 1900 in Feodosia. In accordance with his wishes, he was buried in the courtyard of St. Sargis Armenian. A white marble sarcophagus made by the Italian sculptor L. Biogiolli in 1901. An excerpt of Movses Khorenatsi's History of Armenia in Armenian Classical carved on his tombstone: ?????????? ????? ????? ????? ??????? ???? ( Mahkanatsu tsneal anmah ziurn yishatak yetogh ), which is translated: â € Å"Ia born as mortals, leaving a legacy Abadia € or â € Å"Terlahir as mortal beings, leaving a lasting memory dirinyaa €. The Russian writing underneath read: ?????????? ????? ??????????????? ?????????I? 1817-1900, "Professor Ivan Konstantinovich Aivazovsky 1817-1900".
After his death, his wife Anna lived a largely desolate life and died on July 25, 1944. She was buried next to Aivazovsky.
Maps Ivan Aivazovsky
Art
During his 60-year career, Aivazovsky produced about 6,000 paintings, what the online art magazine describes, "very different values ​​... there are masterpieces and there are very shy works". However, according to one count, as many as 20,000 paintings are attributed to him. Most of Aivazovsky's works describe the sea. He rarely draws dry landscapes and creates only a handful of portraits. According to Rosa Newmarch Aivazovsky "never painted his photograph of nature, always from memory, and away from coastal areas." Rogachevsky writes that "His legendary artistic memory is capable of reproducing what he has seen for a very short time, even without drawing the initial sketch." Bolton praised "his ability to convey the effects of moving water and sunlight and reflected moonlight."
Exhibition
He held 55 solo exhibitions (unprecedented figures) during his career. Among the most famous were held in Rome, Naples and Venice (1841-42), Paris (1843, 1890), Amsterdam (1844), Moscow (1848, 1851, 1886), Sevastopol (1854), Tiflis (1868), Florence (1874), St. (1885), Berlin (1885, 1890), Warsaw (1885), Constantinople (1888), New York (1893), Chicago (1875, 1877, 1886, 1891) (1893), San Francisco (1893).
He also "contributed to the exhibition of the Imperial Art Academy (1836-1900), Paris Salon (1843, 1879), Society of Artwork Exhibitions (1876-83), Society of Art Lovers of Moscow (1880), Pan-Russian Exhibition in Moscow (1882) and Nizhny Novgorod (1896), World Exposition in Paris (1855, 1867, 1878), London (1863), Munich (1879) and Chicago (1893) and international exhibitions in Philadelphia (1876), Munich (1879) and Berlin (1896 ). "
Style
A Romantic painter, Aivazovsky uses some Realistic elements. Leek argues that Aivazovsky remained faithful to Romanticism throughout his life, "although he or she oriented his work to the Realist genre." The work was initially influenced by the teachers of the Art Academy Maxim Vorobiev and Sylvester Shchedrin. Classical painters such as Salvator Rosa, Jacob Isaacksz van Ruisdael and Claude Lorrain contributed to the process and style of individual Aivazovsky. Karl Bryullov, famous for the Last Day of Pompeii, played a key role in stimulating Aivazovsky's own creative development, according to Bolton. The best Aivazovsky paintings of the 1840s-1850s used a variety of colors and epic and romantic nuances. Newmarch suggested that in the mid-19th century the romantic features in Aivazovsky's work became "increasingly clear." He, like most scholars, considers Ninth Wave his best artwork and argues that it "seems to mark the transition between the fantastic colors of his earlier works, and a more true vision of the following years." On 1870s, his paintings were dominated by subtle colors; and in the last two decades of his life, Aivazovsky created a series of silver seascapes.
The different transitions in Russian art from Romanticism to Realism in the mid-nineteenth century left Aivazovsky, who will always retain the Romantic style, open to criticism. The reasons for his unwillingness or inability to change begin with his location; Feodosia is a remote city in the enormous Russian empire, far from Moscow and Saint Petersburg. His thought patterns and views are both considered ancient and incompatible with the development of Russian art and culture. Vladimir Stasov received only his original work, while Alexandre Benois wrote in his book The History of Russian Painting in the 19th Century that although the Vorobiev students, Aivazovsky stand apart from the general development of the Russian landscape school.
Aivazovsky's later work contains dramatic scenes and is usually performed on a larger scale. He described "the romantic struggle between man and the elements in the form of the sea ( The Rainbow, 1873), and the so-called" blue marines "( the Bay of Naples in the Morning , 1897, Disaster , 1898) and city landscape ( Night of the Moon at the Bosphorus , 1894). " Work
Landscapes
Seascapes
Religious paintings
The orientalist theme
Armenian Theme
The early work of Aivazovsky included Armenian themes. The desire of the old artist to visit his ancestral homeland was fulfilled in 1868. During his visit to the Russian (East) of Armenia (roughly the same as the modern Armenians, as opposed to the Western Armenians under Ottoman rule), Aivazovsky created the paintings of Mount Ararat, Ararat plain, and Lake Sevan. Although Mt. Ararat has been depicted in the paintings of many non-native artists (mostly European tourists), Aivazovsky became the first Armenian artist to illustrate the mountain of two peaks.
He continued the creation of paintings associated with Armenia in the 1880s: Mount Ararat Valley (1882), Ararat (1887), Descent Noah from Ararat (1889). The unique Ararat Mountain Valley contains the Aivazovk's sign in Armenian: "Aivazian" (????????). In the panorama of Venice expressed by Byron's Visit to the Mekhitarists at St Lazarus Island in Venice (1898); the foreground of the picture contained members of the Armenian Session that gave the poet an enthusiastic welcome.
Other themed works from this period include rare portraits of the famous Armenians, such as his archbishop Archbishop Gabriel Aivazovsky (1882), Prince Mikhail Loris-Melikov (1888), Catholicos Mkrtich Khrimian (1895), Nakhichevan-on-Don Major? Rutyun Khalabyan and others.
The baptism of the Armenians and the Oaths Before the Battle of Avarayr (both 1892) illustrates two of the most impressive events of ancient Armenia: the Christianization of Armenia through the baptism of King Tiridates III (early 4th century) , and the Battle of Avarayr of 451.
Influence
Aivazovsky is the most influential sea view painter in nineteenth-century Russian art. According to the Russian Museum, "he is the first and for a long time the only representative of the ocean-view painting" and "all other artists who paint the sea view are his own disciples or influenced by him."
Arkhip Kuindzhi (1841/2-1910) quoted by the Krugosvet encyclopedia has been influenced by Aivazovsky. In 1855, at the age of 13-14, Kuindzhi visited Feodosia to study with Aivazovsky, however, he was only involved to mix the paint and instead studied with Adolf Fessler, Aivazovsky's student. An encyclopedic article of 1903 states: "Although Kuindzhi can not be called the disciple of Aivazovsky, the latter undoubtedly had some influence on him in the first period of his activity, from whom he borrowed much by painting." The British art historian John E. Bowlt writes that "the sense of light and form associated with the sunset, the storms and the grim sea of ​​Aivazovsky permanently influence the young Kuindzhi."
Aivazovsky was also influenced by Russian painter Lev Lagorio, Mikhail Latri, and Aleksey Ganzen (the last two were his grandchildren).
Recognition
Ivan Aivazovsky is one of the few Russian artists to gain widespread acclaim during their lifetime. Today, he is considered one of the most prominent marine artists of the 19th century, and, on the whole, one of the greatest marine artists in Russia and the world. Aivazovsky is also one of the few Russian artists who became famous outside Russia. In 1898, Munsey's Magazine wrote that Aivazovsky was "better known in the world in general than any other artist of his nationality, with the exception of the sensational Verestchagin". Although according to art historian Janet Whitmore she is relatively unknown in the west. Art historian Rosalind Polly Blakesley noted in a 2003 book review that he has not been incorporated into the history of major Western art.
In Russian
In a July 2017 poll conducted by the Russian Public Opinion Research Center (VTsIOM), Aivazovsky ranked first as the most favorite artist with 27% of respondents calling him their favorite, ahead of Ivan Shishkin (26%) and Ilya Repin (16%). Overall, 93% of respondents said they were familiar with his name (26% knew him well, 67% had heard of his name) and 63% of those who knew him said they liked his work, including 80% of those aged 60 or over and 35% from 18 to 24 years.
In 1890, Brockhaus and the Efron Encyclopedic Dictionary described him as "Russia's best marine painter". Ivan Kramskoi, one of the most prominent nineteenth-century Russian artists, praised him thus: "Aivazovsky is - no matter who says what - the first big star, and not only in [our country] but also in the history of art in general." Other Russians, Alexandre Benois, suggested that "Aivazovsky stands apart from the general history of the Russian landscape painting school." The Russian State Museum website continues, "It's hard to find another figure in the history of Russian art that enjoys the same popularity among amateur viewers and educated professionals." Writing in 1861 in Vremya magazine Fyodor Dostoyevsky compared the work of Aivazovsky with Alexandre Dumas because both artists "have a very striking effect: it is remarkable, for humans have never produced any ordinary things at all, They are considered quite interesting, Dumas books are devoured with impatience, Aivazovsky paintings have been sold like hot cakes, both of which produce works that are not different from fairy tales: fireworks, clinks, screams, wind howling, lightning. "
In nineteenth-century Russia, its name became a synonym for art and beauty. The phrase "feasible for Aivazovsky brushes" is the standard way to describe something very beautiful. It was first used by Anton Chekhov in 1897 playing Uncle Vanya . Responding to the question of Marina Timofeevna (the old nurse) about the fight between Ivan Voynitsky ("Uncle Vanya") and Aleksandr Serebryakov, Ilya Telegin says that it is "A worthy sight of the Aivazovsky brush" (?????, ???? ????????????????? In Syuzhet, dostoyniy kisti Ayvazovskovo ).
A street in Moscow (ru) was named Aivazovsky in 1978. His first and only statue in Russia was founded in 2007 in Kronstadt, near Saint Petersburg.
In Armenia
Aivazovsky has always been regarded as an Armenian painter in his ancestral land and is almost always referred to there by its original Armenian name, Hovhannes. Almost all Armenian languages, several Russian and English-speaking sources, refer to it as Hovhannes Ayvazovski (Armenian: ???????????????????? Language Russia: ???? (?) ???????????? , Ovan (n) es Aivazovsky ). The artist signed some of his paintings and letters in Armenian. For example, his signature on both Armenian (????????, Ayvazean ) and Russian (??????????, Ayvazovskiy ) appear in the Mount Ararat Valley (1882).
Aivazovsky is described as the "most remarkable" Armenian painter of the nineteenth century and the first Armenian sea painter. He was born outside of Armenia, and like his contemporaries, including Gevorg Bashinjaghian, Panos Terlemezian, and Vardges Sureniants, Aivazovsky lived outside his homeland, attracting major influences from the European and Russian art schools. His creativity and point of view have been attributed to his distinctive Armenian roots. According to the Sureniants, he seeks to create a union that will unite all Armenian artists around the world. The prominent Armenian poet Hovhannes Tumanyan wrote a short poem entitled "In Front of Aiazovsky's paintings" (Ã, ??????????  »Â»  »Â» in in inspired by the sea paintings by Aivazovsky, most likely from the 1870s-1890s.It was translated into English in 1917 by Alice Stone Blackwell.
Some Aivazovsky paintings from the National Gallery of Armenia hang in the Presidential Palace in Yerevan.
Elsewhere
In Ukraine, he is sometimes considered a Ukrainian painter. He was included in a 2001 book titled 100 Greatest Ukrainians . A gang in Kiev (??????????????????) was named after him in 1939. A three-star hotel in Odessa, where dozens of his works are shown, is named for him as well. The statue of Aivazovsky and his brother Gabriel is located in Simferopol, the administrative center of the Crimea.
Aivazovsky paintings were very popular in the Ottoman imperial court during the 19th century. According to HÃÆ'¼rriyet Daily News , in 2014, 30 Aivazovsky paintings are on display in museums in Turkey. According to another source, there are 41 Aivazovsky paintings on display in Turkey, 21 in the former Ottoman sultan palace, 10 in various marine and military museums, and 10 in the president's residence. In 2007, when Abdullah GÃÆ'¼l became president of Turkey, he brought a painting by Aivazovsky from the basement to hang in his office during the redecoration of the presidential palace, the ÃÆ'â € ankaya Mansion in Ankara. Photos of the official meeting of Recep Tayyip Erdo? In the new Presidential Complex in Ankara shows that the walls of the rooms in the presidential residence are decorated with the artwork of Aivazovsky.
Legacy
Aivazovsky's house in Feodosia, where he founded an art museum in 1880, is open for today as the Aivazovsky National Art Gallery. It remains the main attraction in the city and keeps the world's largest collection of (417) Aivazovsky paintings. An artist's statue was erected in front of him.
Posthumous grace
The Soviet Union (1950), Romania (1971), Madagascar (1988), Armenia (first in 1992), Russia (1995), Ukraine (1999), Abkhazia (1999), Moldova (2010), Kyrgyzstan (2010), Burundi 2012), and Mozambique (2013) has published stamps depicting Aivazovsky or his works. The small planet 3787 Aivazovskij, named after Aivazovsky, was discovered by Soviet astronomer Nikolai Chernykh in 1977.
An exhibition featuring 120 paintings and 55 Aivazovsky paintings was held at the Tretyakov Gallery in Krymsky Val from 29 July to 20 November 2016 dedicated to the 200th anniversary of his birth. In the first 2 weeks, this exhibition has about 55,000 visitors, a record number. 38 works were moved from the Aivazovsky Art Gallery in Feodosia, which prompted Ukraine to call for an international boycott of the Tretyakov Gallery because it considers the Crimea as occupied territory.
Auction
Aivazovsky paintings began to appear in the auction (mostly in London) in the early 2000s. Much of his work was bought by Russian oligarchs. His works continue to increase in the value of the auction. In November 2004, Saint Isaac's Cathedral On A Frosty Day, a rare urban landscape, sold for around £ 1 million ($ 2.1 million). In 2007, his painting of American Shipping off the Rock of Gibraltar was auctioned off at Ã, Â £ 2.71 million, "more than four times his top estimate". That is, "the highest price paid at auction to Aivazovsky" at the time. In April 2012, his 1856 works View of Constantinople and Bosphorus were sold in Sotheby for a record $ 5.2 million (£ 3.2 million), a tenfold increase since last at an auction in 1995.
Stolen painting
Gallery of Aivazovsky paintings
- National Gallery of Armenia
- Russian Art Encyclopedia
- The Athenaeum
- Ancient Istanbul Cat in Istanbul Armenian Organization
- Ivan Aivazovsky in the collection of the Odessa Art Museum. Album. Odessa, Astroprint, 2012.
Source of the article : Wikipedia
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