Ivan Konstantinovich Aivazovsky was a comprehensively educated person and an interesting conversationalist. In his youth, he often visited the house of composer M. I. Glinka, where he performed his own melodies on the violin. Later, two of them were included in Glinka’s opera “Ruslan and Lyudmila”.

Russian artist Ivan Konstantinovich Aivazovsky (real name Gaivazovsky) was born in Feodosia, in the family of a bankrupt merchant. His father, an Armenian by nationality, was well educated and knew several Eastern languages. As a child, Vanya was interested in music and drawing - he himself composed small musical works and performed them on the violin, and also drew with charcoal.

The parents did not have the opportunity to give the boy a good education. However, Vanya was lucky: the mayor of Feodosia A.I. Kaznacheev noticed Aivazovsky’s talent and took care of his enrollment in the Simferopol gymnasium.

After studying there for two years, in 1833, sixteen-year-old Aivazovsky was admitted to the Imperial Academy of Arts in St. Petersburg, in the class of M. N. Vorobyov.

More than others, Aivazovsky was interested in the theme of the sea. During his studies, the future marine painter even took part in the campaign of the Baltic squadron and studied warships. Returning from his trip, he completed several paintings that were exhibited at the Academy exhibition in 1836.

In them one can notice the influence of the Dutch masters of the 17th century, but no one doubted the talent of the young artist. Aivazovsky graduated from the Academy in 1837 with a Great Gold Medal, which gave him the right to travel abroad. However, before this, by decision of the Academy Council, the young artist went to Crimea to paint seascapes. There he not only completed many landscapes and sketches with views of Feodosia, Kerch, Gurzuf, Yalta, and Sevastopol, but also took part in the landing operations of the Black Sea Fleet.

In 1839, he participated in one of the military sea voyages as a painter. The result of his work in Crimea was a number of paintings, of which the most successful can be considered “Moonlit Night in Gurzuf” (1839) and “Sea Shore” (1840).

I.K. Aivazovsky. “Peter I at Krasnaya Gorka, lighting a fire to signal his dying ships,” 1846, Russian Museum, St. Petersburg

In 1840, Aivazovsky, together with other graduates of the academy, came to Italy, where he quickly gained popularity. There he met N.V. Gogol, as well as the artists A.A. Ivanov and the Englishman J. Turner. Aivazovsky visited Rome, Venice, Florence, Naples, studying artistic masterpieces. At this time he completed the following works: “Evening in Venice” (1843, Palace, Pavlovsk); “Shipwreck” (1843, Art Gallery named after I.K. Aivazovsky, Feodosia); “Venice” (1843, Muzalevsky collection); “The Bay of Naples at Night” (1843, I.K. Aivazovsky Art Gallery, Feodosia).

I.K. Aivazovsky. “Battle in the Strait of Chios”, 1848, Art Gallery named after. I.K. Aivazovsky, Feodosia

After Italy, he went to Germany, from there to Holland, then visited France, Switzerland, and visited England, Portugal and Spain. During these trips to European countries, Aivazovsky’s artistic style finally took shape - he did not make preliminary sketches or drawings from nature, being content with only a few pencil sketches, saying that “... the movements of living elements are elusive to the brush: painting lightning, a gust of wind, a splash of a wave is unthinkable from life...” In 1844, twenty-seven-year-old Aivazovsky returned to Russia as a famous academician of the Rome, Paris and Amsterdam Academies of Arts. Immediately after returning to St. Petersburg, he received the title of academician and was assigned to the Main Naval Staff as an artist. Soon Aivazovsky began work on a large order - a series of paintings with views of cities on the Baltic Sea coast.

I.K. Aivazovsky. “Chesme Battle”, 1848, Art Gallery named after. I.K. Aivazovsky, Feodosia

Having completed the order, the master returned to his hometown in 1845, built his own house and began to create. During this period, he painted the canvases “Odessa at Night” (1846, Russian Museum, St. Petersburg), “Evening in the Crimea” (1848, I.K. Aivazovsky Art Gallery, Feodosia).

In 1848, Aivazovsky completed several marines on historical subjects: “The Battle in the Chios Strait”, “The Battle of Chesme”, “The Battle of Navarino” (all in the I.K. Aivazovsky Art Gallery, Feodosiya).

On the canvas “Battle in the Strait of Chios” the artist showed a naval battle taking place during the day. In the foreground there are two ships: on the mast of one a white and blue St. Andrew’s banner flutters, on the mast of the other there is a red flag. In the foreground, a fragment of a mast with a piece of sail is swinging in the greenish waves - apparently, all that remains of the sunken ship. In the background, in the smoke of the battle, you can see several more masts and sails of the remaining ships of the squadron.

In the painting “The Battle of Chesme” the master depicted the feat of Lieutenant Ilyin, who blew up his ship near enemy Turkish ships.

The battle takes place at night - the moon is visible in the sky, partially covered with clouds. Several ships are on fire, soldiers are trying to escape in a boat.

In Aivazovsky’s subsequent works one can notice the strengthening of the traditions of romanticism (“The Ninth Wave”, 1850, Russian Museum, St. Petersburg, etc.).

During the Crimean War of 1853–1856, the artist repeatedly visited besieged Sevastopol. Subsequently, he captured the events he saw on the canvases “Battle of Sinop by Day” and “Battle of Sinop by Night” (both 1853, Naval Museum, St. Petersburg). A few years later, he completed another painting dedicated to the Crimean War: “The Siege of Sevastopol” (1859, I.K. Aivazovsky Art Gallery, Feodosia).

In 1867, the artist painted the canvas “The Island of Crete” (I.K. Aivazovsky Art Gallery, Feodosia), dedicated to the liberation struggle of the Greeks against the Turkish conquerors.

In subsequent years, the master completed several landscapes depicting steppes, farmsteads, and views of the Caucasus. However, despite the fact that the artist worked on them with great diligence, these paintings are still not as expressive as his famous marinas.

In the second half of the 19th century, Aivazovsky continued to paint pictures based on historical subjects. Particularly interesting are the works “The Arrival of Catherine II in Feodosia” (1883); “Black Sea Fleet in Feodosia” (1890); “Brig Mercury attacked by two Turkish ships” (1892); “Napoleon on the Island of St. Helena” (1897), all in the Art Gallery named after. I.K. Aivazovsky, Feodosia).

Aivazovsky lived in Feodosia, but quite often made short trips to other countries. For example, in 1870, he was part of the Russian delegation at the opening of the Suez Canal. Returning to his hometown and using only small sketches and an excellent visual memory, he created the canvas “Suez Canal”.

I.K. Aivazovsky. “Brig Mercury attacked by two Turkish ships,” 1892, Art Gallery. I.K. Aivazovsky, Feodosia

The artist worked until the end of his life. In recent years, he completed many magnificent works: “The Black Sea” (1881, Tretyakov Gallery, Moscow); “The ship “Maria” during a storm” (1892, I.K. Aivazovsky Art Gallery, Feodosia), etc.

On April 19, 1900, in one day he wrote his last work, “The Explosion of the Ship” (I.K. Aivazovsky Art Gallery, Feodosia). Aivazovsky died that same night.

In his will, Ivan Konstantinovich Aivazovsky wrote: “My sincere desire is that the building of my art gallery, with all the paintings, statues and other works of art in it, be the complete property of Feodosia, and in memory of me, Aivazovsky, I bequeath the gallery to the city of Feodosia.”

Aivazovsky's sea battle is undoubtedly one of the most common themes depicted in his canvases. The legendary painter admired the exploits of the heroic sailors who defended their Fatherland, and gladly glorified them in his paintings. Thanks to his work, it was possible to perpetuate the memory of many events and glorious episodes from the history of the Russian fleet. The artist owes his world fame to many masterpieces.

Aivazovsky’s painting “Chesme Battle”, description of the best masterpiece

Ivan Aivazovsky’s canvas “” is deservedly called one of the most striking and famous works of the greatest marine painter among those dating back to the early period of his work. It is dedicated to the most significant episode of the Russian-Turkish war, which at the end played a decisive role in the signing of a peace agreement between the countries.

The canvas takes us back to the distant year 1770, on the night of June 25-26, when the ships of the Russian flotilla managed to block a significant part of the Turkish ships in Chesme Bay and destroy them. Aivazovsky’s painting “The Battle of Chesme” became the best description of the grandiose battle; in it, the author managed to perfectly combine two opposing feelings: to reflect the drama of the event for one side and to “imbue” literally every stroke with a feeling of triumph, heroism, and brilliant victory.

In the foreground of the picture the outlines of the flagship of the Russian fleet loom proudly, and inside the bay Turkish ships are burning and exploding, and fragments of masts are scattered.

The black-gray smoke rising from the scarlet flame mixes with the clouds through which the moon breaks through, and seems to be absolutely calmly observing, shedding its cold light, everything that is happening below.

The viewer’s attention in Aivazovsky’s painting “The Battle of Chesme” is captured by a group of people in the water - these are Turkish sailors who were able to escape after the explosion of their ship. They try to grab hold of the wreckage of its masts and hold on, calling in vain for help.

Describing Aivazovsky’s painting “The Battle of Chesme”, it should be noted how it amazes with its high skill, virtuosic technique and realistic images.

Here the colors are brilliantly collected, conveying the tragedy and triumph of the situation, emphasizing the powerful mixture of elements: water, fire and air.

Aivazovsky's canvases about the Battle of Sinop

Among the best paintings of the famous painter, who devoted many works to describing military battles during the Crimean War, two more dedicated to the Battle of Sinop are confidently included.

The battle took place in November 1853, after the Turkish state declared war on Russia. The fleet under the command of Nakhimov set off in the direction of the enemy’s shores and, coming as close as possible, destroyed all the Turkish ships based in Sinop Bay in a few hours.

On one canvas - "" - Aivazovsky captured the early morning and the very beginning of a victorious battle for the Russian fleet: the sea, small waves on which sailing ships sway, the sky covered with gray clouds and the first clouds of smoke from cannon shots.

On the second canvas, dedicated to the Battle of Sinop, Aivazovsky depicted. The Turkish ships, burning with a bright flame, throw burnt chips into the black, but already calm water. Not far away, Russian ships stood proudly, enjoying their triumph.

The famous painting “The Battle of Navarino” by Aivazovsky

The famous canvas by Aivazovsky, written by the author in 1846, depicts one of the most significant events in the history of the Russian fleet and the events that glorified it. History takes us to October 1827, when a battle took place with the Turkish-Egyptian fleet in Navarino Bay.

In the foreground is the famous Russian flagship "Azov", it was badly damaged as a result of the battle, but at the same time decides to board the enemy ship. As a result, Russian sailors move to the enemy deck to destroy it.

With a skillful brush, the master conveyed the tragedy and heroism of the event, despite the raging fire and clouds of smoke, fragments of the masts of broken ships, the activity of the battle - no one doubts the outcome.

Other paintings

The Battle of Chesme is one of the most important episodes of the Russian-Turkish war of 1768-1774. During the night, Russian ships were able to “lock” in Chesme Bay and destroy most of the Turkish fleet.

I.K. Aivazovsky was not a participant in the grandiose Battle of Chesma, which took place on the night of June 25-26, 1770, but on his canvas he convincingly captured the picture of the naval battle.

The canvas “Chesme Battle” was painted by the artist in 1848 and dates back to the early period of the great marine painter’s work.

“The Battle of Chesme” is a battle painting permeated with passionate pathos and drama. In the foreground is the silhouette of the flagship of the Russian flotilla. In the depths of Chesme Bay there are Turkish ships dying from explosions. We see how they burn and drown - fragments of the masts fly away, the flames of the fire rage, illuminating the dark night with tragic light.

Turkish sailors, who miraculously survived the explosion, are clutching the wreckage of a wooden ship, trying to stay afloat, and calling for help. Rising upward, the blue smoke of the fire mixes with the clouds. The mixing of the elements of fire, water and air resembles some kind of hellish fireworks. From above, the moon looks somewhat detached at everything that is happening.

Despite the cruelty of what is happening, the film “Chesme Battle” makes a great impression. It is clear that the painter himself, in the process of creating the canvas, experienced a feeling of joyful excitement, intoxication with the brilliant victory won by the Russian sailors. The painting is distinguished by its virtuoso technique, skill and boldness of execution.

The painting “The Battle of Chesme” by I.K. Aivazovsky is one of the paintings glorifying one of the most glorious pages in the history of the Russian fleet.

In addition to the description of the painting by I.K. Aivazovsky “The Battle of Chesme”, our website contains many other descriptions of paintings by various artists, which can be used both in preparation for writing an essay on the painting, and simply for a more complete acquaintance with the work of famous masters of the past.

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Numerous battle paintings by I.K. Aivazovsky (1817 -1900) glorified the heroic sailors who bravely defended their Fatherland. His work helps preserve the memory of the glorious military traditions of the navy.
Great raid in Kronstadt 1836

Aivazovsky depicted all the main battles and victories of the Russian fleet from the moment of its inception. The subjects of his paintings do not form a single chronological sequence. Perceiving the life of the fleet as something close and joyful, he often created paintings either immediately after the event depicted, or shortly after it, or (which rarely happened), connecting it with some historical date.

Kronshtadt Raid 1839-40



N.N. Raevsky's landing at Subashi 1839


Providing access to the shores of the Baltic Sea could not be achieved without a fleet. Its construction began as soon as Russian troops established themselves on the shores of the Baltic. Russia emerged from the Northern War as a strong maritime power. During the war, military bases were established in Vyborg, Revel and other places.
Revel (Tallinn). 1844


Kronstadt. Fort "Emperor Alexander I" 1844


Sveaborg 1844


Aivazovsky dedicated a number of his paintings to the victories of the Russian fleet in the Northern War. In 1846, the artist wrote battle works dedicated to the naval battles of Reval, Vyborg, and Krasnaya Gorka. But not forgetting that he was a painter of the Main Naval Staff, in 1846 Aivazovsky began painting about the founder of the Russian fleet, Peter I, giving it the title: “Peter I lights a fire at Krasnaya Gorka to signal the fleet.”
Peter I at Krasnaya Gorka...1846


The events depicted by Aivazovsky in the picture are historical, they took place on August 31, 1714.
Naval battle of Reval (May 2, 1790). 1846


Naval battle of Vyborg June 29, 1790 1846


The struggle with Turkey, which began under Peter the Great, initially for the acquisition of access to the Azov and Black Seas, and later for freedom of navigation in the Mediterranean, led to the Russian-Turkish War of 1768-1774.
In 1848, the artist painted the painting “The Battle of Navarino,” which depicts an event that also glorified the Russian fleet.
Battle of Navarino 1846


The combined fleet of the allies (Russians, French, British) entered the Bay of Navarino, where the Turkish-Egyptian fleet was concentrated. After fruitless attempts to negotiate, after the shelling of the allied fleet by Turkish ships and coastal batteries, the Battle of Navarino began in October 1827. Russian battleships, being in the center and taking the main blow of the Turkish-Egyptian forces, skillfully destroyed most of the enemy fleet.
One of Aivazovsky’s famous paintings is “The battle of the brig “Mercury” with Turkish ships.”
Brig "Mercury" attacked by two Turkish ships 1892


Brig Mercury after defeating two Turkish ships
meets with the Russian squadron 1848


This battle took place on May 14, 1829. The 18-gun brig Mercury, cruising off the coast of the Bosphorus, unexpectedly met with a Turkish squadron. The commander of the brig, captain-lieutenant A.I. Kazarsky decided to engage in battle and, if necessary, explode with one of the enemy ships. Skillfully maneuvering and preventing the enemy from taking advantage of his tenfold superiority in artillery, the brig Mercury inflicted such defeats on the enemy ships that after a 3-hour battle they stopped pursuing.
The Sevastopol epic occupies a very special place in Aivazovsky’s art. Much of what is connected with the Crimean War and especially with the participation of the Black Sea Fleet in it was depicted by Aivazovsky.
Russian squadron on the Sevastopol roadstead 1846


Entrance to Sevastopol Bay 1852


Sevastopol raid 1852


Sinop battle 1853


Sinop. The night after the battle November 18, 1853 1853


Capture of Sevastopol 1855


In October 1853, Türkiye declared war on Russia. In November 1853, a Russian squadron discovered the Turkish fleet in Sinop Bay. The Russian fleet approached and started a battle from the closest range. The flagship Empress Maria, on which Nakhimov was located, was ahead. By the end of the 4-hour battle, the Turkish squadron and coastal batteries were destroyed.
On October 5, Vladimir Alekseevich Kornilov was mortally wounded on Malakhov Kurgan. Later, Aivazovsky painted the painting “Malakhov Kurgan - the place where Admiral Kornilov was mortally wounded.”
Malakhov Kurgan 1893


This painting depicts a panorama of Sevastopol, opening from the heights of the Malakhov Kurgan. In the foreground you can see a kind of monument - a cross made of cannonballs at the site of V.A.’s fatal wound. Kornilov. At the monument are two veterans of the defense of Sevastopol. They came to this mound, sacred to every Russian, where their beloved commander was mortally wounded.
Arriving in besieged Sevastopol in 1854, the artist saw above the water only the tops of the masts of many ships of the Black Sea Fleet, which with their hulls blocked the entrance to the Sevastopol Bay of the enemy fleet. He captured this view in the painting “The Siege of Sevastopol.”
Siege of Sevastopol 1859


The artist served the fleet until the last days of his life, glorifying its glorious victories and the heroism of Russian sailors. The last painting, which Aivazovsky began working on on the day of his death, was also dedicated to the Russian fleet. It depicts a combat episode - "The Explosion of a Turkish Ship".
Explosion of the ship (last unfinished work) 1900


Aivazovsky's battle paintings are in many naval museums and art galleries. But the largest collection of Aivazovsky’s works is in the Feodosia Art Gallery, where more than 400 paintings by the painter are exhibited. All these paintings are a chronicle of the military exploits of the Russian fleet.
Ship "Twelve Apostles" 1897


Review of the Black Sea Fleet in 1849
(The last highest review of the Black Sea Fleet by Emperor Nicholas) 1886


The Black Sea Fleet before the Crimean War on the Feodosia roadstead in 1890


The art of depicting the sea was brought by I.K. Aivazovsky is world famous. And it is no coincidence that on the grave of the marine painter, who was buried with full military honors - an unprecedented phenomenon at that time - it is written:
“Born mortal, he left behind immortal glory!”