Thinking of Ivan Aivazovsky paintings again
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Thinking of Ivan Aivazovsky paintings again
Ocean Wave
Last time, we discussed how Aivazovsky managed to paint so many works. Today, let's examine the techniques he used to achieve his magical effects.
Secret 1: The Light Triangle and the Famous Wave Aivazovsky knew that the viewer's gaze instinctively gravitates toward light. He often illuminated the foreground, depicting his signature foaming, onrushing wave. The light source and this wave created a "light triangle" in the composition—the focal point. Look at the painting "The Black Sea" (1881).
There are no ships or drama here, yet the sea feels alive and breathing thanks to this detailed, powerful wave in the foreground.
Secret 2: It All Starts with the Sky Aivazovsky always began with the sky and did not set aside his brush until he finished it. It was the sky that set the mood for the entire painting. He might paint the sea in several sessions, but the sky—only in one inspired impulse. In the painting "The Rainbow" (1873), it is the sky, pierced with light after the storm, that defines the scene's entire exultation.
Secret 3: The Glazing Technique The famous "transparency" of his water is thanks to the glazing technique. He applied paint in the thinnest, almost watercolor-like layers over a white primer, achieving the most complex shades and an effect of glowing from within. This technique also allowed him to work quickly, as the layers dried relatively fast. Look at his most famous painting, "The Ninth Wave." (1850)
That very wave, glowing from within, and the depth of the sea water—this is the virtuoso mastery of glazing. It creates the illusion that the light comes not from above, but from within the canvas itself.
With love,
Poppy
An Ottoman coffee-house in the moonlight by Ivan Aivazovsky
Digital study of “Ship in the Stormy Sea” by Ivan Aivazovsky
"View of a steep, rocky coast and a rough sea at sunset" (1882–1883)
Ivan Aivazovsky
Sunset over Yalta by Ivan Konstantinovich Aivazovsky
“Constantinople, the Top-Kahné Mosque”, 1884, Ivan Aivazovsky.