1895
Oil on canvas
100.5 x 155 cm (39.5 x 61 in.)
Ivan Aivazovsky’s large-scale composition The Survivors from 1895 is an extraordinary and important example of Aivazovsky’s depiction of the shipwreck, a theme which fascinated him throughout his life. His most famous composition on this subject, The Ninth Wave painted in 1850 was acquired by one of the artist’s major patrons, Emperor Nicholas I, and today hangs in the State Russian Museum, St. Petersburg.
Shipwrecks and ships sailing amidst a storm were popular subject matter in nineteenth century European painting and form a category of their own in the canon of Romantic art. Aivazovsky’s skill at rendering light falling on water and reflecting through waves is without parallel and was much imitated by salon painters in Russia and abroad.
The ambiguity of the sailors’ fate in the present work is palpable. The nearby shore and glimpse of blue sky upper left are symbolic of hope but the terrifying waves and dark storm clouds epitomise the sublime danger of the sea. This experience of the Sublime plays an important role in many of Aivazovsky’s most celebrated paintings. Defined as a state in which emotions are stretched to their limits - a sort of delightful horror - the sources of the Sublime can be vastness, infinity, power, obscurity, and magnificence. Man is no longer master but prey to forces many times stronger than himself. While the composition of The Survivors has similarities with Storm at Mys Ai which hangs in the Russian Museum, St. Petersburg, the palette of cool blues, greens and greys firmly anchors it amongst his later oeuvre, and such masterpieces as Among the Waves from 1898 (fig. 1) in the Aivazovsky Museum in Theodosia
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