Description of Aivazovsky's painting "seascape with shipwrecks under moonlight." Night landscapes by Aivazovsky Description of the painting by Aivazovsky Night in Crimea

Caspar David Friedrich. "Wanderer above the sea of ​​fog." 1818

This is one of the iconic paintings of the era of romanticism, where everything was about the proud loner, solitude, and powerful elements.

Claude Lorrain. "The landing of the Queen of Sheba." 1648.

In that era, it was not yet fashionable to paint independent landscapes; painters were forced to “screw” some biblical or mythical plot onto them to justify the chosen theme.

I. Aivazovsky. "The Ninth Wave" 1850

Claude Monet. "Impression. Sunrise". 1872

This painting of the port of Le Havre gave rise to impressionism.

Rembrandt. "Storm on Lake Galilee." 1633

The painting is famous not only for being Rembrandt's only landscape, but also for its theft in 1990.

Hokusai. "Big Wave in Kaganawa" 1823-31

True, this is not a “painting”, but an engraving, but it’s still great, and let it be here.

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In general, the incorrect use of words infuriates me, especially in journalism, for which words, in theory, are the main and only building material.

Look, recent news on the Evening Moscow website: “During the cleaning in the Vatican, two paintings by Raphael were found,” and there the first phrase “The found paintings were considered lost for five hundred years.”
What words are used incorrectly? " Paintings" And " canvases".

Because upon careful study of the topic, for example, on the TASS website, it turned out that the story is like this.
It has long been known that when painting the walls of the Vatican with frescoes as part of a huge team of painters, Raphael painted two figures not normally, with standard materials for plaster, but with oil paints.
But no one knew what these figures were or where they were.
And recently, restorers were putting in order a huge wall, painted with a colossal fresco with an insane number of figures, and discovered that two aunts in this entire crowd were painted there in oil.
Therefore, these two figures were painted by Raphael. (at my beloved Nikolai Podosokorsky).

In this mess, two aunts were identified.

It is correct to say in this case “two fragments of frescoes were identified”, and not “paintings”.

A painting is a mobile thing, consider it furniture, an antique for decorating an apartment, you can take it under your armpit and carry it away (test question). If a painted work of art cannot be stolen twice, it is not a “painting”.
With “canvases” it’s even simpler, it’s just something painted on a linen, on a canvas. On a rag! If a painting is painted not on canvas, but on wood, then you can no longer say “canvas” about it - for example, Mona Lisa is painted on poplar => not canvas.

Okay, I'm swollen, sorry.

Bruegel. "The Fall of Icarus". OK. 1558

The only painting by Bruegel on an ancient subject. However, it is now assumed that he is not the author after all.

Arkady Rylov. "In the blue expanse". 1918

Claude Joseph Vernet. "Entrance to the Port of Palermo by Moonlight", 1769

A rare example of a night landscape for the 18th century.

Claude Monet. Rocks at Etretat. 1885

Well, okay, let there be a second Monet, he’s so good, and completely different.

Alexey Bogolyubov. "Battle of Athos June 19, 1807." 1853

Ilya Repin. "What space." 1903

I want to go to Koktybel. Not the current one, but the one in which I was twenty-something.

Canaletto. Bacino di San Marco, 1738

However, Venice will also do, even a modern one, okay, wrap it up.

Whistler. "Symphony in gray and green. Ocean." 1866-72

Do you see a fascination with Japanese prints in this landscape?
You can't say it's directly "famous" seascape, but then I will put on less popular things, but from famous artists.

Turner. "The last voyage of the ship "Brave". 1739

It is difficult to choose just one thing from Turner, he is entirely a genius, however, this is not realized at first glance, but with some effort, approximately that required to adapt to Brodsky’s poems.

Hans Gude. "Fjord in Sandviken". 1879

Van Gogh. "View of the sea near Les Saintes-Maries-de-la-Mer", 1888

Winslow Homer. Moonlight. 1875

Homer is generally very good artist, watch it.
Okay, here's another one.

Winslow Homer. On the beach. 1869

Nikolai Dubovskoy. "It's quiet." 1890

This is the Baltic seaside.

Arkhip Kuindzhi. "Seashore with a rock" 1898-1908.

This is Crimea. For some reason no one draws resorts of the Krasnodar Territory...

Valentin Serov. "Odysseus and Nausicaa." 1910

This is drawn in gouache, which means “drawing”. Watercolor is also a “drawing”. A painting is only done in oil or tempera. They speak watercolor painting in English, but they cannot speak Russian.

Let there be another Kuindzhi. "Sea". 1898-1908

Joaquin Sorolla. "Children on the Beach" 1910

Happy New Year to you! I hope I made it more colorful for you, told you a lot of new things and thoroughly entertained you!
Thank you very much for reading me, thank you for the gifts and virtual beer to my Yandex wallet (this is useful for inspiration!)
Thank you so much for voting for me for blogger of the year. I am very pleased to communicate with you, to receive such a strong response, so many kind words. Your gratitude and interest in my work greatly supported me during difficult periods of this year.

Hooray! Happy New Year!

Since childhood, the artist loved the sea, creating a poetic image that conveyed the breath and movements of the water element. Every time he approached the easel, he gave free rein to his imagination, since, thanks to his own method, he painted pictures from memory.

The sea was Aivazovsky's inspiration. Often in his paintings you can see night seascapes and people admiring the beautiful nature. The artist creates deep and colorful combinations on the canvas that can amaze with their splendor.

Storm at sea on a moonlit night.

Storm at night. Aivazovsky

The artist created images of night nature in all its endless variability: sometimes in the form of a calm surface, sometimes in the form of a raging, menacing water element. He knew how to depict all the effects of moonlight with illusionist precision. It is the moon that you should pay attention to first. Unlike the moon in the north, where it is a small, almost invisible spot, in Crimea it shines so that thunderclouds will soon lose their strength.
Aivazovsky's work "" was created in 1849. It is permeated with sunlight, full of light and air, and has an optimistic character, despite the dramatic nature of the image. The color scheme of the painting is shades of pink, purple and yellow combined with emerald in the sky, dark blue, violet and green in the water. Judging by the fact that the ship is depicted without sails, the wind is not going to gain full power, and the waves will not swallow the ship into the depths of the sea. We can observe that the moon illuminates the way for wanderers, preventing them from fading in the pitch darkness.

A huge wave, pierced by the light of the moon, shows all the transparency of the emerald water with its glittering edges and foaming crests. With the light of the moon they burst out of the dark abyss, thereby angrily showing that in front of us is a raging element.

Description of Aivazovsky's painting Odessa at night

Having lived his whole life by the sea, the artist could not help but be imbued with its sublimity and grace, and glorify this beauty in his works. The painting “Odessa at Night” was painted, like almost all the others, from memory, in its own way of conveying all the splendor of the sea element.
Along the right edge of the image there is a row of houses, dimly lit by moonlight, which gradually dissolves into the sea. The unusual bright yellow light of the moon illuminates the objects depicted nearby, allowing the viewer to see everything that is located around. Many critics wrote that before no one could convey light and water so realistically and vividly.

On the canvas we can see a lonely warship experiencing rare moments of beauty that it will most likely never see again. Difficulties and battle are foreshadowed by ominous and threatening clouds hanging over him.

Description of the painting by Aivazovsky Night in Crimea

One of the most romantic works Aivazovsky - Night in Crimea. The painting was painted by the artist in 1859.

Rising above Mount Ayu-Dagom, the moon fills the surrounding landscape with an enchanting golden light. The slopes of Bear Mountain are also golden.

Aivazovsky loves to depict the sea elements in a menacing and raging image, however, in this canvas depicting an amazing Crimean night, nothing foretells trouble. The artist painted a romantic landscape depicting the full moon over the Black Sea coast. Under the golden moonlight, in the bay, small silhouettes of ships are barely visible.

Other paintings on the night theme

In every canvas of the famous marine painter Ivan Konstantinovich Aivazovsky, the sea is special. In some places it is tender and soft, in others it is beautiful in the manifestation of anger. In the painting “Seascape with Wrecks of a Ship under Moonlight,” painted in oil in 1863, the artist depicts seashore at night. A large yellow moon hung in the sky, the edges of which were difficult to make out - the light emanating from it was so bright. Scraps of dark clouds float across the sky, which seem to be about to fall to the ground, turning into fog. The sea, illuminated in places by the moon, is completely black in the middle, and in this darkness the artistic viewer sees the silhouette of the wreckage of a small ship. To the right on the shore are the outlines of a group of people, one of whom indicates what used to be a sea vessel. Apparently, the ship had recently been wrecked, and the sea washed it ashore, to a land where it was not expected. And somewhere far away, perhaps, relatives of the shipwrecked travelers are waiting for the ship to arrive on an empty shore. The peculiarity of the painting “Seascape with the Wreck of a Ship under Moonlight” is that the artist does not use a varied color palette and is content with a rather modest set of colors. In the picture we see different shades of yellow and brown, as well as gray and black. This is not a multi-story picture; it represents only one episode - how the wreckage of the ship landed on the shore.

Aivazovsky divides the canvas into two parts contrasting in color palette - sky and water. In this way, the artist conveys the feeling of anxiety and turmoil that arises on the threshold of a natural disaster, in other words, the calm before the storm. The sky was overcast with gray clouds, in the center there was still a bright horizon. In the distance you can see a small ship that still does not know what it is about to meet. To his left are the blurry features of land. Clouds in the sky and waves repeat each other's patterns.

For Aivazovsky, the main thing in painting is not what he depicts, but how he does it. So in this landscape, what comes to the fore is not the fate of the crashed ship, but the night seascape. The main thing on the canvas is the shimmer of the moon, its reflection from the surface of the sea, the depth of the starless night sky, illuminated by the moon and covered with clouds. The sea on this canvas is calm, apart from very small waves.

Depicting human tragedy against the backdrop of a seascape, Ivan Aivazovsky invites the artistic viewer to reflect on the transience of life and the fragility of the human being. Once again, Ivan Aivazovsky demonstrates his skill in depicting the greatness of nature. He represents the eternal landscape, confronting it with human tragedy- shipwreck. The sky and moon depicted on the canvas amaze with their realism and beauty. The picture exudes calm and eternity, the grandeur of the surrounding world, a sense of the transience of human life.