Ivan Konstantinovich Aivazovsky

Sotheby's London, Icons, Russian Pictures and Works of Art, 16 June 1992, lot 32
Sotheby's London, Icons, Russian Pictures and Works of Art, 15 June 1995, lot 158

N.S.Barsamov, I.K.Aivazovsky, Moscow: Iskusstvo, 1962, listed p.216 and illustrated p.251
G.Caffiero and I.Samarine, Seas, Cities and Dreams, Alexandria Press: London, 2000, illustrated p.165

Structural Condition The canvas is unlined and is securely attached to its original keyed wooden stretcher. This is providing an even and stable structural support. There is a small patch visible on the reverse of the canvas towards the centre of the upper horizontal stretcher bar. There is a fine pattern of craquelure visible throughout the composition. This is stable and is not visually distracting. There is also an area of raised craquelure in the lower left corner and several small vertical lines of craquelure within the sky. These are also stable. Paint surface The paint surface has an even varnish layer. Inspection under ultra-violet light shows scattered retouchings, the most significant of which are: 1) an area corresponding to the previously mentioned patch which measures approximately 4cm x 4cm, 2) an intermittent vertical line of retouching measuring approximately 8 cm below and to the left of the area of retouching mentioned above, 3) small scattered spots and lines throughout the upper part of the sky, 4) a broken vertical line of retouching above the cattle in the centre of the composition, and 5) intermittent retouchings running along each of the four framing edges. Other small scattered retouchings are also visible. Summary The painting therefore appears to be in good and stable condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Some of Aivazovksy's most charming works from the 1860s are set in his beloved Crimea. These are far removed from the drama of his turbulent seascapes, and almost unremarkable in their everyday subjects: a peasant family returning home from the fields in an ox-drawn cart; gathering corn at harvest time or, as in the present lot, a farmer tilling the soil. However, under Aivazovsky's brush, these canvases become a paean to his native land; images of a peaceful idyll often characterised by their flat, sweeping horizons and dominated by a vast expanse of sky (fig.1).

 

As with many of his Crimean views, Aivazovsky has chosen to set his composition during 'The Golden Hour' before sunset and gild the landscape with a warm, raking light. The artist uses this transformative light effect to pick out unexpected details, such as the farm-hand's joyful expression as he encourages the oxen on the last few lengths of the field, and the still life of objects in the lower right hand corner, a leitmotif which appears in an earlier composition, Gypsy Camp (1857, The Fine Art Museum, Yerevan).