Most residents of Kharkiv know Ivan Konstantinovich Aivazovsky (Hovhannes Aivazyan) as a brilliant marine painter—an artist who painted exclusively seascapes. However, many will be surprised to discover the role our beloved city played in his life and the themes it inspired in his paintings.
In the 1850s, Aivazovsky—who was already famous by that time—unexpectedly began to incorporate themes of Ukrainian nature into his work. These included the Ukrainian steppes and the chumaks—sometimes on the road, sometimes resting. These “Little Russian” landscapes are striking in their remarkable beauty. It is true that a talented person is talented in everything. The great master created quite a few such paintings. In 1854–1855, during the Crimean War, the artist lived in Kharkiv with his entire family. But how thoroughly has Aivazovsky’s Kharkiv period been studied? And what is its place in the artist’s body of work?
In the numerous contemporary studies and art books devoted to the master, there is a significant gap concerning Kharkiv. However, the study and analysis of primary sources have led to a surprising discovery.
In 1889, A. S. Suvorin’s printing house published F. I. Bulgakov’s magnificent two-volume work, *Our Artists. Painters, Sculptors, Mosaic Artists, Engravers, and Medalists: At the Academic Exhibitions of the Last 25 Years.”
This book begins with a biography of Aivazovsky. On the very third page, I find the following:
This period also saw the creation of his first work inspired by the nature of Little Russia; in 1855, he wrote “The Chumaks’ Journey Across the Izyum Steppe” in Kharkiv.
In 1893, thanks to Stasyulevich’s printing house, the first volume of the “Dictionary of Russian Artists from the Earliest Times to the Present Day” by the outstanding Russian art historian Nikolai Petrovich Sobko was published. On page 302 of this truly unique publication, a new discovery awaits us:
After settling in Kharkiv at the outbreak of the Crimean War, Aivazovsky painted not only naval battles and raging elements, but also entirely peaceful scenes of Little Russian nature.
The value of Nikolai Petrovich’s research lies not only in his highly detailed biographies, but also in his efforts to date each painting and trace its subsequent history. And on page 322, we read:
1855. Paintings that were on display at the I. A. X. exhibition in St. Petersburg:
217. “The Little Russian Steppe”—Chumaks approaching a Jewish tavern (purchased by the heir to the imperial throne, later Emperor Alexander Nikolaevich).
Alas, the subsequent fate of the aforementioned painting remains unknown to us. However, it is precisely thanks to the works of O. I. Bulgakov and N. P. Sobko—who were unjustly forgotten after 1917— we now know for certain that it was Kharkiv and the enchanting nature of Slobozhanshchyna that inspired Aivazovsky’s numerous Ukrainian landscapes, which captivate with their beauty.
Now let’s conduct a little experiment. I’m sure that most of you reading this right now, upon seeing the beautiful painting below, will assume that the discussion will continue to focus on the work of this great marine painter.
However, they would be wrong—the author of the painting “After the Storm” is a completely different person. Although Aivazovsky’s influence is undoubtedly evident in the artist’s style and in his depiction of water.
They say there is an interesting monument at the old Yalta City Cemetery with the following inscription:
Artist Mikhail Alexandrovich Alisov. Jan. 5, 1860 — June 15, 1933. Seascape painter, Aivazovsky’s best student. From the communal farm, 1960.
There is very little information about our great fellow townsman; not even a portrait of him remains.
All that is known is that Mikhail Alisov was born in Kharkiv, studied at M. Raevskaya’s private school of drawing and painting, and then at the Academy of Arts (1887–1888) under Y. Y. Klever. He later worked in Feodosia under the guidance of I. K. Aivazovsky and was his student. In 1900, 1902, and 1903, solo exhibitions of M. A. Alisov’s work were held in Kharkiv. In fact, at the exhibition marking the artist’s 40th birthday, 132 of his paintings were on display.
In 1912, a beautiful series of postcards featuring the works of Mikhail Alisov, depicting various species of Crimean flora, was published in Yalta.
In 1914, Alisov was a leading member and exhibitor of the Yalta Art Circle. Unfortunately, most of his paintings have been lost, and for reasons that remain unclear to this day, his name has been consigned to oblivion. Even the residents of his hometown are largely unfamiliar with this brilliant artist.
His first landscape paintings and a talented student. You must agree that Ivan Konstantinovich Aivazovsky received considerable gifts from Kharkiv. Yet how many great events and people does the past of this city, which we love so dearly, hold in store?
I’m sure the best is yet to come.
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