Ivan Aivazovsky, a celebrated Russian-Armenian artist, holds a special place in the hearts of Turkish art lovers. With over 200 paintings dedicated to Istanbul, Aivazovsky’s works form one of the most comprehensive visual records of the Ottoman capital during the 19th century. Remarkably, even Turkish artists have not produced as many works centered on the city. This unique achievement makes Aivazovsky’s contributions invaluable to Turkey’s visual arts heritage, cementing his status as an honorary figure in the country’s artistic history.
Aivazovsky first set foot in Istanbul in 1845 as part of a Russian Imperial fleet expedition led by Admiral F. P. Lipke. Organized under the directive of Tsar Nicholas I, this mission aimed to explore the waters of the Ottoman Empire, Anatolia, and the Aegean islands. During this expedition, Aivazovsky, serving as the official artist of the fleet, accompanied the delegation to Istanbul. The artist attended a reception at Beylerbeyi Palace, where Sultan Abdülmecid hosted the Russian delegation, including Tsar Nicholas I’s son, General Admiral Konstantin Nikolayevich. This visit marked the beginning of Aivazovsky’s lifelong connection to Istanbul.

The artist would return to Istanbul multiple times, meeting Sultan Abdülmecid, Sultan Abdülaziz, and Sultan Abdülhamid II during their respective reigns. Aivazovsky not only documented Istanbul’s striking beauty but also served as a cultural ambassador, forging close ties with the Ottoman rulers. His interactions with these sultans extended beyond diplomacy, as he became a trusted figure in the court, gaining insight into the city’s transformation during a period of modernization and reform. These encounters deepened his appreciation for Istanbul, influencing his artistic approach to capturing its landscapes and maritime life.
During the Tanzimat era, initiated under Sultan Abdülmecid, the Ottoman Empire embarked on a path of Westernization, which included fostering an interest in the visual arts. The construction of Dolmabahçe Palace in 1857 epitomized this cultural shift, with its Western-style décor and a growing collection of European artworks. Sultan Abdülaziz, who ascended the throne in 1861, further expanded the imperial art collection, hosting exhibitions and supporting artists. As a talented painter himself, Abdülaziz demonstrated a profound appreciation for art. In this cultural climate, Aivazovsky’s works flourished, capturing the grandeur of Istanbul during one of its most transformative eras. Through his art, Aivazovsky immortalized Istanbul’s essence, offering a timeless perspective on its beauty and history.


Ivan Aivazovsky: Master of the Sea
Ivan Konstantinovich Aivazovsky (1817-1900) is regarded as one of the greatest Romantic painters and a true master of marine art. Baptized as Hovhannes Aivazian, he was born into an Armenian family in Feodosia, a Black Sea port in Crimea. This seafaring environment deeply influenced his artistic career, which spanned almost 60 years and produced around 6,000 paintings, most of them seascapes. Aivazovsky’s works celebrated the beauty, power, and drama of the sea, cementing his legacy as a legendary artist in Russia and beyond.
Early Life and Education
Born into a humble Armenian family, Aivazovsky’s artistic talent was evident from an early age. His father, a merchant who migrated from Western Armenia to Crimea, ensured that Ivan and his siblings received an education. Aivazovsky’s talent was nurtured at the local St. Sargis Armenian Church, where he studied drawing under the guidance of Jacob Koch, a local architect. His abilities soon caught the attention of Taurida Governor Alexander Kaznacheyev, who sponsored his move to Simferopol for further education.
In 1833, Aivazovsky joined the prestigious Imperial Academy of Arts in Saint Petersburg, where he studied landscape painting under Maxim Vorobiev. His extraordinary skill earned him medals and recognition, and by 1837, he graduated two years ahead of schedule with a gold medal. Shortly after, Aivazovsky began his lifelong fascination with depicting the sea, participating in naval exercises to observe the ocean’s movement and character. His education set the foundation for his prolific career and unparalleled ability to capture the ever-changing moods of the sea.

A European Journey and Rise to Prominence
In 1840, Aivazovsky was sent by the Imperial Academy to study in Europe, a turning point in his career. He traveled extensively through Venice, Florence, Rome, and Naples, where he was inspired by Italian art and culture. During this time, he developed a Romantic style, blending vivid imagination with meticulous attention to detail. His works quickly gained acclaim, and he became the first Russian artist to exhibit at the Louvre in Paris. Pope Gregory XVI awarded him a gold medal, and he continued to gain recognition across Europe, including Britain, Germany, and France.
Upon returning to Russia in 1844, Aivazovsky was appointed as the official artist of the Russian Navy. This role allowed him to observe and depict naval battles, coastal scenes, and ship maneuvers, further solidifying his reputation. By this time, the phrase “worthy of Aivazovsky’s brush” had entered the Russian lexicon, thanks to Anton Chekhov, as a way of describing anything exceptionally beautiful.

Life in Feodosia and Later Years
In 1845, Aivazovsky returned to his hometown of Feodosia, where he built a house and studio. Though he lived in relative seclusion, his reputation as a painter continued to grow. His Romantic style often stood apart from the emerging Realist movement in Russian art, but his ability to convey the drama of the sea ensured his continued popularity.
Aivazovsky was not only an artist but also a patron of his hometown. He contributed to Feodosia’s development by funding projects such as a commercial port and providing the town with drinking water. He even founded an art gallery in his house in 1880, making it one of the first public art museums in the Russian Empire.
Diplomatic Ties and Legacy
Aivazovsky’s work often transcended the realm of art, serving as a tool for diplomacy. He maintained close ties with the Russian elite and Ottoman rulers, frequently traveling to Constantinople (modern-day Istanbul). His visits to the Ottoman capital under Sultans Abdülmecid, Abdülaziz, and Abdülhamid II were marked by both artistic collaboration and political engagement. The Ottoman rulers admired his work, and Aivazovsky’s paintings became a testament to the shared cultural connections between Russia and the Ottoman Empire.

Ivan Aivazovsky and Istanbul
In 1845, during his first visit to Istanbul as part of his duties with the Russian Navy, Aivazovsky caught the attention of Sultan Abdülmecid with his paintings. When he returned to Russia with numerous sketches, some of which would later become paintings, a portion of these works ended up adorning the walls of the palace. Among the twenty-seven paintings he completed in 1846, one depicted Istanbul. On March 16, 1846, Aivazovsky wrote to Knyaz Zubov:
“I am currently starting a large painting of Istanbul… Perhaps no city is more magnificent than this one; upon arriving there, even Naples and Venice are forgotten.”
Aivazovsky’s second visit to Istanbul occurred in May 1857, following his return from France, and his third visit was in 1869 while en route to Egypt for the inauguration of the Suez Canal. During these visits, he gained new experiences, became more familiar with the city and its people, and established high-level connections. His frequent meetings with Sultan Abdülaziz, himself an artist and an avid art enthusiast, culminated in a close friendship. Aivazovsky shared his admiration for the Sultan’s artistic talent with Ebuziya Tevfik Bey, saying:
“The rewards I received from Sultan Abdülaziz for my paintings were unmatched by any other ruler. However, the Sultan left me with a memento far more valuable than any treasure in the world, which is my greatest pride. It is a sketch of a small boat that he drew upon my request. It consists of just four or five lines in red pencil. As a painter who has seen countless drawings, I have never encountered an artist who could depict the essence of a boat with just four lines.”

The most significant of Aivazovsky’s visits to Istanbul occurred in 1874 when Sultan Abdülaziz invited him for the fourth and final time. The Sultan commissioned him to create 30 paintings of Istanbul and Bosphorus landscapes for Dolmabahçe Palace. During his stay, Aivazovsky was hosted at the mansion of chief architect Sarkis Balyan in Kuruçeşme, where he completed the commissioned works. On October 10, 1874, while in Istanbul, he offered the following advice to young artists:
“If God has given me a small amount of talent, the rest I earned through constant effort – know this well. And even now, I consider myself a student of nature. Therefore, just as I have done, work and strive. I am pleased to see that you have made significant progress in art in a short time. For example, the palaces designed by Sarkis Bey are magnificent, and every painter admires his extraordinary taste and skill.”
Having traveled to 135 different cities throughout his life, Aivazovsky stated that, outside of Russia, he loved Istanbul the most. He depicted the city from various perspectives, capturing the ever-changing moods of its skies and the Bosphorus. Of the approximately six thousand paintings he created in his lifetime, over 200 were devoted to Istanbul. In recognition of his contributions, he was honored with numerous medals by Ottoman sultans. When Aivazovsky passed away on May 2, 1900, due to a brain hemorrhage, his final painting was yet another depiction of Istanbul’s breathtaking scenery.

During his later years, Aivazovsky also engaged with the Armenian cause. He created paintings to commemorate the struggles of the Armenian people, including works inspired by the Hamidian massacres. His advocacy and artistic contributions underscored his deep connection to his heritage.
Style and Achievements
Aivazovsky’s ability to paint the sea was legendary, with critics praising his artistic memory and ability to reproduce complex ocean scenes without preliminary sketches. His best-known work, The Ninth Wave (1850), exemplifies his Romantic vision, depicting the aftermath of a storm with survivors clinging to debris under a golden sunrise. He continued to experiment with color and mood throughout his career, creating epic, dramatic seascapes as well as serene, silver-toned works in his later years.
Aivazovsky held 55 solo exhibitions, an unprecedented number for his time. His works were displayed in major cities, including Rome, Paris, London, and Constantinople, making him one of the most internationally celebrated Russian artists of the 19th century. He was also the first Russian artist to receive France’s Legion of Honor and many other accolades, including the Turkish Order of Osmanieh and the Greek Order of the Redeemer.

Death and Legacy
Aivazovsky passed away on May 2, 1900, in his beloved Feodosia. He was buried in the courtyard of St. Sargis Armenian Church, where his tombstone bears an inscription that reads, “Born a mortal, left an immortal legacy.” His contributions to art, both in Russia and internationally, remain unparalleled.
Today, Aivazovsky’s works are housed in museums and private collections worldwide, particularly in Russia, Ukraine, Armenia, and Turkey. His art continues to inspire, embodying the beauty and majesty of the sea, and his legacy as one of the most prolific and beloved artists in history endures.

Sources
- Ivan Aivazovsky on Wikipedia
- Istanbul Through the Eyes of Ivan Aivazovsky on Celine Symbiosis’s blog (in Turkish)
- Ivan Aivazovsky’s old Istanbul paintings [archive.org]