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Aivazovsky https://tert.nla.am/archive/NLA%20AMSAGIR/SovetakanHayastan1945/1967(7).pdf ^[1]

Ninth Wave included in 2014 book 1000 Paintings of Genius^[2]

https://arar.sci.am/dlibra/publication/188505/edition/171160?language=en Հովհաննես Այվազովսկի (Ծննդյան 150-ամյակի առթիվ) Կ. Հ. Կուրղինյան https://web.archive.org/web/20231217142416/https://arar.sci.am/dlibra/publication/188505/edition/171160/content

Ծովանկարիչ Հովհաննես Այվազովսկի (Իմ հուշերից) https://arar.sci.am/publication/261577/edition/239567/?language=hye Ե. Շահազիզ

https://arar.sci.am/dlibra/publication/261458/edition/239452?language=hye Ծովանկարիչ Հովհաննես Այվազովսկի

https://www.kommersant.ru/doc/1992901

Partenit Памятник И. К. Айвазовскому в Партените (Крым) http://flibusta.site/b/342098/read

Buxton, Noel; Buxton, Rev. Harold (1914), Travel and Politics in Armenia, London: Macmillan

Aram Raffi on Aivazovsky Armenian painting is also of some interest. The works of Aivazovski, the celebrated marine painter [...] and others have gained a European reputation. https://archive.org/details/travelpoliticsin00noel/page/255/mode/1up?view=theater

In 1891 John Buchan Telfer listed Aivazovsky among the "noted Armenians of the present day" and said that Englishmen have of late been made familiar with his beautiful sea-pieces^[3]

https://books.google.am/books?id=BSYnAAAAIBAJ&pg=PA4&dq=aivazovsky&article_id=2071,5829280&hl=en&sa=X&ved=2ahUKEwjywJz-_66AAxWWc_EDHXBHDHUQ6AF6BAgBEAM#v=onepage&q=aivazovsky&f=false

Խրիմյան Հայրիկի նամակագրությունը ծովանկարիչ Հ. Այվազովսկու հետ https://web.archive.org/web/20230104121325/https://arar.sci.am/dlibra/publication/261525/edition/239517/content

Necessity and Use of a Multilayer Test Object Based on an Anonymous 19th Century Copy of a Painting by Ivan Konstantinovich Aivazovsky (1817–1900) https://www.mdpi.com/2571-9408/5/4/153

https://arar.sci.am/dlibra/publication/37285/edition/33489 Հովհ. Այվազովսկու տեղը և նշանակությունը հայ նկարչության մեջ

major

ՀՈՎՀԱՆՆԵՍ ԱՅՎԱԶՈՎՍԿԻ (ԱՅՎԱԶԵԱՆ) 1817-1900 ԿԵՆՍԱՄԱՏԵՆԱԳԻՏՈՒԹՅՈՒՆ, 2017

ОТЕЦ ГОРОДА. Иван Айвазовский и Феодосия: история взаимоотношений ^[4]

https://archive.org/details/1967_20211026/mode/2up Айвазовский: документы и материалы (1967)

Tretyakov

In 1848 Aivazovsky received a personal noble title, and in 1864 he was awarded a Certificate bestowing a hereditary title upon him: thus, his descendents were classed as belonging to the nobility.^[5]

the opening in 1880 of the Feodosia Picture Gallery, Russia's first provincial art museum.^[6]

the local Picture Gallery, founded by Aivazovsky himself. This houses the largest collection of his works, with over 400 pieces in all, 141 of them oils.[7] In accordance with the painter's will, in 1900 the gallery passed into municipal ownership.^[6]

Another of Aivazovsky's pet projects was the building of a railway to connect Feodosia with Central Russia. The appearance of Feodosia's commercial port raised the town's significance, prompting a branch line to be built from Dzhankoy. Well before its construction was over, the painter dedicated a large canvas, titled “The First Train in Feodosia” (1892, Aivazovsky Picture Gallery, Feodosia), to this historical development.^[6]

in 1887 the artist decided to donate to the town “50,000 buckets of clean water daily, without charge”. The water was to be drawn from his estate of Subash^[6]

His home, which later became part of the Feodosia Picture Gallery complex, remains one of the town's most elegant buildings. Designed to resemble an Italian Renaissance country villa, it was built between 1846 and 1847 by the sea, in an area which was then a suburb. The elegant main fagade featured sculptures of ancient gods, whilst the balcony above the entrance was decorated with gryphons. The central and left parts of the villa were constructed first, with the right part added later. In 1880, Aivazovsky had the main exhibition hall built onto his house, sited on what would later be named Gallereynaya Street.^[6]

The front garden of the painter's house now features a striking statue of Aivazovsky. Erected in 1930 thanks to the efforts of Nikolai Barsamov,[21] director of the Picture Gallery, it was created by the famous St. Petersburg sculptor Ilya Ginzburg, and funded through public subscription. Cast in bronze in Petrograd in 1914, in 1917 it was shown in an exhibition at the Imperial Academy of Arts. In Soviet times, its erection in Feodosia in 1930 was timed to coincide with the 50th anniversary of the Picture Gallery's opening.[22] The monument's pedestal bears the laconic inscription: “From Feodosia, to Aivazovsky”.^[6]

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^[7] ^[7] ^[7] ^[7] ^[7]

auctions in London since 1990s Newly emboldened by our success with the “Varangians”, we placed a pre-sale estimate on the picture of £250-350,000 for our summer sale of 1994. Again, there was fierce competition during the auction, but this time the winner was a Turkish client, who had to pay £325,000. The painting hung on his wall for 17 years; in 2012, he sold it through Sotheby's again. This time it made £3,233,000.

Perhaps surprisingly, however - with the obvious exceptions of Turkey and those cities which formed part of the Russian Empire in the artist's lifetime - there are very few Aivazovsky paintings in public collections outside Russia. There are some in the monastery of San Lazzaro in Venice, where Aivazovsky's brother Gabriel had studied; a couple in the Louvre in Paris, both of them loaned out to the museum of the Breton seaport of Brest; and one in the museum of the German city of Kiel. There is the self-portrait in the Uffizzi in Florence, given to the Gallery by the artist himself; but there are none, for instance, in the National Gallery of the United Kingdom, and only three tiny pictures in the Metropolitan in New York, none of them on permanent display. It is interesting to speculate as to why this should be the case. Perhaps it was an accident of the 20th century; Aivazovsky's pictures have always been quite expensive, both in his lifetime and afterwards, and until the last quarter of the 20th century, 19th century painting had fallen out of fashion. Perhaps those museums that did have budgets to buy 19th century works were more inclined to buy their own painters; or perhaps a lack of expertise, and limited contact with Russian specialists, frightened some museums off.

Andreas Roubian was a friend and pupil of Shahinian, but from a younger generation, and he is the proud owner of what is certainly the largest and most wide-ranging collection of Aivazovsky outside Russia. He made his money from computer software in the early 1980s, and together with Max Schweitzer, who owned a large 19th century paintings gallery on Madison Avenue and was a huge admirer of Aivazovsky, travelled the world in search of paintings. He bought his first picture in 1984, and now owns more than 50 works by the artist, encompassing every period and subject.

Aivazovsky's own estimation, made towards the end of his life - but not at the very end of it - that he had painted 6,000 pictures, has been the subject of some controversy. His pictures vary enormously in size, and the smallest, many of which were given away as gifts at his dinner parties, or mounted as brooches, were sometimes not much bigger than postage stamps. Were these included in his figure? And what about sketches, drawings and watercolours? It is impossible to say with any certainty. What is for sure, however, is that with each passing year the art market both within Russia and outside it adds to the total figure of known paintings, as they appear in galleries, auction houses or emerge from private collections on every continent. The fact that present scholarship, two centuries after the artist's birth, has documented not even a fifth of that magic “six thousand” makes the task all the more exciting for Aivazovsky's admirers in Russia and beyond, for this, and for future generations.

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^[8] ^[8]

All his life Ivan Aivazovsky enjoyed the patronage of the Russian Emperors Nicholas I, Alexander II and Alexander III, as well as their family members. The Imperial family's favour nourished the young artist's natural talent, provided him with opportunities to take sea voyages to distant shores, to see what his beloved seas looked like from the deck of a ship, and to enrich his imagination through visiting foreign lands. Members of the Imperial family purchased many of Aivazovsky's paintings; today these works are in the collections of Russia's major museums.^[8]

Alexey Olenin

on August 23 1833 Aivazovsky was admitted to professor Maxim Vorobyov's class at the Academy.^[8]

Shortly after this, at the recommendation of Alexander Sauerweid and Counter (Rear) Admiral Friedrich von Lütke, the Emperor requested Aivazovsky to accompany his son Konstantin on his first naval voyage in the Gulf of Finland in the summer of 1836. On July 2, the nine-year-old Grand Duke wrote in his diary: “Father has sent me off to sea, today was the day of our departure... The entire fleet of 26 ships weighed anchor, with the wind completely against us.”[3]^[8]

The voyage that the Grand Duke and the artist undertook together lasted until the autumn and proved quite educational: Litke taught them astronomy and navigation, as well as ship design and exploitation. Aivazovsky gave the Grand Duke painting lessons; as for his own work, he tried to sketch or paint something new every day and showed seven new seascapes that he had finished during the voyage at the Academy's Autumn Exhibition.[5] The Russian Emperor purchased them all for the sum of 3,000 rubles.^[8]

The Russian Navy would later play a crucial role in Aivazovsky's life. In 1844 “His Majesty the Emperor” signed an order for ‘Academician Aivazovsky to be assigned to his Majesty's Navy Headquarters as a painter; with that, Aivazovsky has the right to wear the uniform of the Ministry of the Navy and his rank is considered honorary.”[6]^[8]

Consequently, in spring 1838 Aivazovsky received the opportunity to return to “Crimea to paint from nature, for the duration of one year from the current date, i.e. until the 1st of March 1839, when he, Aivazovsky, is to present his new works for His Majesty the Emperor's review.”[8]^[8]

Aivazovsky would depart from Crimea for his first trip to Europe. His paintings earned him the admiration of both the general public and famous artists in Rome, Venice, Naples, Paris, London and Amsterdam. When in summer 1844 the artist returned to St. Petersburg after four years abroad^[8]

In the 1870s the Sultan commissioned the artist to create a number of paintings for his Dolmabahqe Palace; to this day Aivazovsky's canvases adorn the walls of the ceremonial halls there.^[8]

The royal family's patronage and Nicholas I's friendly interest were especially valuable to Aivazovsky, who had grown up in a family that was not wealthy^[8]

It was not only Nicholas I who had such a trusting and close friendship with Aivazovsky - the entire Imperial family admired the artist and his work. More than once Empress Alexandra Fyodorovna brought her children to the artist's home in Feodosia and his country estate in Crimea.^[8]

After the death of Nicholas I, his son Alexander II ascended the Russian throne. Aivazovsky had known him from the voyage of 1851, and the new Emperor, just like his late father, showed favour to the artist. Along with other artists, in the 1860s Aivazovsky was retained to decorate the walls of the Livadia Palace, the Imperial family's home in the Crimea^[8]

Additionally, Aivazovsky painted frescoes in the Grand Palace; he also accompanied the Empress Maria Alexandrovna on her voyage to Alushta in 1861^[8]

The Russian Emperors' appreciation of Aivazovsky's work earned him numerous awards from the state. Thus, throughout his long career the artist received the Orders of Saint Anna, 3rd, 2nd and 1st class (1844, 1851, 1881); the Orders of Saint Vladimir, 3rd and 2nd class (1865 and 1887); the Order of Saint Alexander Nevsky (1897), and other distinctions. In 1864 Alexander II granted Aivazovsky the status of hereditary nobility - according to the Emperor's edict, “in recognition of Professor Ivan Konstantinovich Aivazovsky's service and out of Our warm regard and generosity”. [29]^[8]

Alexander III, who ascended the Russian throne in 1881, would also become an admirer of Aivazovsky's art. In 1888 the artist arranged for a water supply system to be drawn from his estate in Subash to Feodosia, and a fountain was built to celebrate the occasion^[8]

In his turn, Aivazovsky, a favourite of three Emperors, through his art brought true beauty into the formal and rigid lives of his exalted benefactors.^[8]

http://www.tretyakovgallerymagazine.com/articles/4-2016-53/aivazovsky-brothers

https://www.tretyakovgallerymagazine.com/articles/1-2017-54/reporting-aivazovsky-19th-century-russian-periodicals

https://www.tretyakovgallerymagazine.com/articles/1-2017-54/aivazovsky-house-and-guests

https://www.tretyakovgallerymagazine.com/articles/1-2017-54/artist-and-his-benefactor-ivan-aivazovsky-and-alexei-tomilov

https://www.tretyakovgallerymagazine.com/articles/1-2017-54/many-faces-ivan-aivazovsky

https://www.tretyakovgallerymagazine.com/articles/4-2016-53/aivazovsky-brand-surging-sea-russia-elite

https://www.tretyakovgallerymagazine.com/articles/4-2016-53/artist-hellenic-spirit

other

https://web.archive.org/web/20190805062408/http://hpj.asj-oa.am/6471/ Հովհաննես Այվազովսկին «Բազմավեպ» հանդեսի էջերում

Goldovsky, Grigory; Karttunen, Ilkka (2003). Petrova, Jevgenia (ed.). Ivan Aivazovski: maalauksia, piirustuksia ja akvarelleja pietarilaisista kokoelmista [Ivan Aivazovsky : paintings, drawings and watercolours from the collections of St Petersburg] (exhibition catalogue). Palace Edition. ISBN 9518977305.

Hedström, Per (11 January 2015). "From tsars to commissars: Russian and Soviet paintning from the Russian museum" (PDF). Art bulletin of Nationalmuseum Stockholm. 21. Nationalmuseum: 135. The first room included several major works of Russian 19th-century art, such as Ivan Aivazovsky's The Ninth Wave... "The first room included several major works of Russian 19th-century art, such as Ivan Aivazovsky’s The Ninth Wave, Vasily Perov’s Pugachev’s Justice and a couple of fine genre paintings by Alexey Venetsianov. It was, of course, especially gratifying that Aivazovsky’s monumental painting could be included in the exhibition, since it is one of the most popular and sought-after works in the Russian Museum’s collection."

funeral pics
- interior
- exterior

Refs

^ LAST, FIRST (DATE). [URL "TITLE"]. Sovetakan Hayastan Monthly (in Armenian) (ISSUE). Yerevan: Armenian SSR Committee for Cultural Relations with the Armenians Abroad. ISSN 0131-6834. {{cite journal}}: |issue= has extra text (help); Check |url= value (help); Check date values in: |date= (help)
^ Charles, Victoria; Manca, Joseph; McShane, Megan (2014). 1000 Paintings of Genius. Parkstone International. p. 323. ISBN 978-1-78310-403-1. 593. Ivan Aivazovsky, 1817-1900, Romanticism, Russian, The Ninth Wave, 1850
^ Telfer, John Buchan (29 May 1891). "Armenia and Its People". Journal of the Society of Arts. XXXIX (2, 010). London: Royal Society of Arts: 576.
^ Cite error: The named reference cityfather was invoked but never defined (see the help page).
^ Cite error: The named reference estates was invoked but never defined (see the help page).
^ ^a ^b ^c ^d ^e ^f Cite error: The named reference feodos was invoked but never defined (see the help page).
^ ^a ^b ^c ^d ^e ^f Samarine, Ivan (2016). "Aivazovsky Outside Russia". Tretyakov Gallery Magazine. 53 (4). Tretyakov Gallery. (archived)
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r Buyanova, Natalya. "The great seascape artist and the Russian imperial family". Tretyakov Gallery Magazine. 53 (4). Tretyakov Gallery. (archived)

[1] LAST, FIRST (DATE). [URL "TITLE"]. Sovetakan Hayastan Monthly (in Armenian) (ISSUE). Yerevan: Armenian SSR Committee for Cultural Relations with the Armenians Abroad. ISSN 0131-6834. {{cite journal}}: |issue= has extra text (help); Check |url= value (help); Check date values in: |date= (help)

[2] Charles, Victoria; Manca, Joseph; McShane, Megan (2014). 1000 Paintings of Genius. Parkstone International. p. 323. ISBN 978-1-78310-403-1. 593. Ivan Aivazovsky, 1817-1900, Romanticism, Russian, The Ninth Wave, 1850

[3] Telfer, John Buchan (29 May 1891). "Armenia and Its People". Journal of the Society of Arts. XXXIX (2, 010). London: Royal Society of Arts: 576.

[cityfather-4] Cite error: The named reference cityfather was invoked but never defined (see the help page).

[estates-5] Cite error: The named reference estates was invoked but never defined (see the help page).

[feodos-6] ^ ^a ^b ^c ^d ^e ^f Cite error: The named reference feodos was invoked but never defined (see the help page).

[Samarine-7] ^ ^a ^b ^c ^d ^e ^f Samarine, Ivan (2016). "Aivazovsky Outside Russia". Tretyakov Gallery Magazine. 53 (4). Tretyakov Gallery. (archived)

[Buyanova-8] ^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r Buyanova, Natalya. "The great seascape artist and the Russian imperial family". Tretyakov Gallery Magazine. 53 (4). Tretyakov Gallery. (archived)

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