1888
Oil on canvas
Travelling south through Ukraine in the summer of 1888, Chekhov describes in his letters the baking heat and dust of Crimea and its 'blurred sun'. 'Yesterday we went to Shah-Mamai, Aivazovsky's estate, twenty-five versts from Feodosia. It is a magnificent estate, rather like fairyland; such estates may probably be seen in Persia. Aivazovsky himself, a vigorous old man of seventy-five, is a mixture of a good-natured Armenian and an overfed bishop; he is full of dignity, has soft hands, and offers them like a general' (Letter from A.Chekhov to his sister, 22 July 1888).
Windmills, thatched huts, ox-trains and flocks of sheep are recurring motifs in Aivazovsky's landscapes to which he turned frequently in his mature years. Unlike his dramatic seascapes, these compositions feel intimate in their depiction everyday agricultural and festive scenes such as ploughing, farmers returning from the fields or wedding festivals (1892, Feodosia Picture Gallery). The present landscape is especially distinctive for its billowing clouds of dust, which find perhaps their closest equivalent in the opaque smoke of exploding cannons in his marine battle scenes.
From Shah Mamai, Chekhov travelled on to Sumi where the threshing process reminded him of boyhood summers on Count Platov's estate in nearby Taganrog: 'the lazy tread of the oxen, the clouds of dust, the grimy, perspiring faces of some three score of men - all this has stamped itself upon my memory like the Lord's Prayer. ...' (29 August 1888, Letter from A.Chekhov to A.Suvorin). This rare depiction of Crimean farming by Aivazovsky brings Chekhov's contemporary descriptions to life.
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