A. Bogolyubov and I. Aivazovsky. An issue of creative and personal relationships

Abstract

T. Bogolyubov, one of the realist artists in the middle – second half of the 19th century, began his career as a romantic and a painter, who worked in line with academic traditions. Ayvazovsky’s work (along with the works of such masters as S. Shchedrin, K. Krugovikhin, A. Dorogov and M. Vorobyov) had a strong influence on the formation of the young artist in the second half of the 1840s – the first half of the 1850s.
                Subsequently, however, the enthusiastic attitude of Bogolyubov towards Ayvazovsky was replaced by sharp rejection of the famous artist both creatively and personally. The main reason for that was, above all, a change in creative views of Bogolyubov. Upon having matured in his creative work he continued traditions of the French painter-realists of the Barbizon school and the German artist of Düsseldorf school A. Akhenbakh.
                In many respects Bogolyubov’s assessment of Ayvazovsky’s artistic work has not lost its relevance now. It reflected the transition in Russian art of the 19th century from the romantic and academic traditions to realism.