#Water painted by Ivan Aivazovsky (1817 - 1900)

[tetsuskei]

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[classicalcanvas]

Water painted by Ivan Aivazovsky (1817 - 1900)

[kakushino]

Meet cute

Tomioka Giyuu x Mer! GN! Reader

Nothing was more terrifying than having Death on your tail.

Tags: Modern AU, Mer AU (human char x mer reader) Word count: 489

Main Masterlist

AN: First in a series of drabbles/snippets of Mer AU I brainrotted with my friends hehe~ Water painted by Ivan Aivazovsky (1817 - 1900)

Nothing was more terrifying than having Death on your tail.

It was just your luck that a pod of Death happened upon your coral reef, and you had just offered your abode to a kind octopus with fries to her name.

Weaving between the kelp off the side of your reef seemed to have confused them enough to allow you to swim to the shallows. You knew that would hardly stop them, powerful fins and agile bodies giving them the ability to strike right to the tide line – no further, lest they beach themselves-

A high-pitched sound reached your ears, interrupting your current of thought, and your heart fell into your stomach.

You poured all your energy into speed. Time was of the essence, they were getting closer, you could hear them now. You were surrounded. The only way out was out.

With the last of your power, and what the shallow water allowed you, you slid up the sandbank, just barely at the high tide line.

It wouldn’t keep you safe.

Strange echo of waves spurred your panicked crawling up the sand – the surface broke, water crashed – your keening song short, cut off – scorching hot hands grabbed your biceps and pulled.

Your back stung in direct sunlight, dorsal fin flapping to the side uncomfortably, pelvic fins scratched up. The sand hurt against your scales as they dried against the heated ground, much quicker than what was natural, but it was better than being torn apart for sport by Death.

You didn’t even look at what pulled you ashore, just rolled up, up, up the beach away from Death. You caught the sight of it retreating to the waters, and shade covered you as the heated hands dropped your arms.

Now far on land, your gills stuck closed, and you breathed hard through your mouth. The adrenaline made your limbs shake. Mind scrambled, eyes searching the surface for the damned black fins that were sure to appear when a pod of Death was nearby.

Nothing.

The sand near your hands moved.

Your head whipped around to look at what – who – dragged you from your demise.

A beautiful human was at your side, its own breathing slowing down from the mad dash to freedom. Long dark hair - messy, as if seawater caused it to dry like that; ruddy blush high on his cheeks – from the sun? from helping you? Skin so light and bright, covered in salt from your home, sparkly even in the shade.

Its eyes opened and the colour of the sea stared back at you.

You were speechless. Had you seen such a mer back home, you would have stayed.

“What are you?” it spoke at last – or he? His voice was deeper than a female mer, so you would say it was a he. The information helped you none because you didn’t understand a lick of his human song.

Well, you beached yourself. Now what?

Thanks for reading! Leave a comment or reblog if you liked it :3

Legend: Death = orca / killer whale (TBA)

Networks: @enchantedforest-network @themovingcastlez

Honorary mentions: @starrierknight-main @aikugo @arlertdarling @mydarlingdahlia @glitchtricks94 (lmk if you want to be untagged)

THERE IS NO TAGLIST!

[worldsandemanations]

Water painted by Ivan Aivazovsky (1817 - 1900)

[themuseumwithoutwalls]

MWW Artwork of the Day (6/8/20) Lev Lagorio (Ukrainian, 1827-1905) The Neva at Dusk, St. Petersburg (1875) Oil on canvas, 60 x 97.5 cm. Private Collection

This work beautifully exemplifies Lagorio’s aptitude for expressive color. Like Ivan Aivazovsky (1817-1900), Lagorio worked in the finest tradition of Romantic landscape painting. Influenced by the older artist, Lagorio’s mastery also lies in his rendition of light, here using contrasting colours to depict the vibrant St Petersburg sky above the shimmering silver water. The familiar silhouette of the Peter and Paul Fortress stands out on the horizon, while the barque and its rowers focus the eye.

The painting is also a beautiful and subtle example of a Romantic composition, where poetic impulse is balanced with an academically constructed composition. Typified by a refined sense of composition, Lagorio’s paintings consistently depict charming and evocative landscapes. Imbued with the principles of Romanticism, the artist immerses the viewer into a lyrical landscape where the forces of nature express themselves via a simple sky at dusk over the banks of the Neva. (from a Christie's auction catalog)

[sadisticscribbler]

Reposted from @painters.paintings Ivan Aivazovsky (1817 1900): The Black Sea at Night, 1879, oil on canvas, 76 x 100 cm, Odessa Art Museum, Ukraine . . 'The Black Sea at Nigh' is one of the cults in the work of Ivan Aivazovsky. As all his landscapes it is full of philosophy; reflections of life. This is a bright moon in the painting, like a 'night sun', illuminates everything around, and the water seems to be filled with its glow. Clouds, also illuminated by moonlight, make this night landscape lighter. Playing with the light is the artist‘s favorite technique. It is with the help of light that he achieves to depict the beauty of the sea surface, the volume and transparency of waves. Despite the movement of the waves, the picture is filled with the Spirit of calmness. The ship goes smoothly to its destination and the moon seems to be accompanying it on this long journey. The painting contains only laconic colours. Using a small number of shades, the artist realistically conveys the nature to his canvas. The horizon line brightly separates the sea from the heavenly space, which, in comparison with the brightly lit surface of the water, appears to be a black abyss. https://www.instagram.com/p/CJCD2tHjp5S/?igshid=su7mm61gb4fm

[janbow]

Just back from Christmas in Wales reading poetry and learning to draw waves, in wonderful cottage with fab wood stove (and such civilised necessities as plentiful power points, heated towel rails, numerous lamps and mirrors) facing straight on to sea. Daily entertainment provided by dogs gamboling on beach, mad happy people charging en masse into the water on Christmas morning, 50+ tractors trundling past on Boxing Day en route to a rally, and incredible Force Of Nature as backdrop throughout.

Rifling through Google for ocean inspiration I was first charmed by Winslow Homer (1836-1910), and then discovered Ivan Konstantinovich Aivazovsky (1817-1900), whose astonishing translucent seascapes won him umpteen international awards. See what his admiring contemporary Turner had to contend with. “Aivazovsky was a constant observer of the elements at sea and made a huge number of sketches, then used these drawings and with the help of his wonderful memory and great gift for improvisation he could paint a whole canvas in a single day. The artist A. A. Rylov recalled that Aivazovsky once painted a view of the Black Sea in two hours in front of students in Kuinji’s studio at the Academy. The artist expressed his creative credo in the following words: ‘A person who is not endowed with a memory that retains impressions of nature may make an excellent copyist, a living camera, but he will never make a real artist. The brush cannot catch the moments of the living elements: it is inconceivable to paint lightning, or a gust of wind, or a splashing wave, from nature. The subject of a painting takes shape in my memory as the subject of a poem does in a poet’s.’ “ After staring at the sea for a while I can appreciate how it lends itself to anthopomorphising, as in these two deliciously erotic images by Herbert James Draper (1863 or 1864-1920). Here’s the passage that inspired his Sea Maiden:

 Have you read never in French books the song  Called the Duke’s Song, some boy made ages back,  A song of drag-nets hauled across thwart seas  And plucked up with rent sides, and caught therein  A strange-haired woman with sad singing lips,  Cold in the cheek like any stray of sea,  And sweet to touch? so that men seeing her face,  And how she sighed out little Ahs of pain  And soft cries sobbing sideways from her mouth,  Fell in hot love, and having lain with her  Died soon? one time I could have told it through:  Now I have kissed the sea-witch on her eyes  And my lips ache with it; but I shall sleep  Full soon, and a good space of sleep.  – Algernon Charles Swinburne, Chastelard, a tragedy (1866)

I can barely remember the story of Ulysses and the Sirens, but am inspired to read the Odyssey and the Iliad by Draper’s painting, and even more by Adam Nicolson’s Why Homer Matters, which is full of quotes like this: Then forth he came, his both knees falt'ring, both His strong hands hanging down, and all with froth His cheeks and nostrils flowing, voice and breath Spent to all use, and down he sunk to death. The sea had soak’d his heart through.

I suspect society lost something precious by dropping study of the classics in schools. So many mythological references that formed part of the West’s universal language up to 100 years ago now mean nothing to us. We’ve abandoned a goldmine of artistic inspiration, and our sense of humanity’s heroic place in the world has dimmed along with it. Time for a revival!

[parkstone-international]

Ivan Aivazovsky (1817-1900) - the Russian Painter of Water

Ivan Aivazovsky (1817-1900) – the Russian Painter of Water

“The movement of natural elements cannot be captured by the brush: to paint lightning, a gust of wind, or the splash of a wave from nature is inconceivable.”

Ivan Aivazovsky

The text below is the excerpt of the book Ivan Aivazovsky, written by Victoria Charles, published by Parkstone International.

Self-portrait, 1892. Oil on canvas, 225 x 157 cm. Aivazovsky National Art Gallery, Feodosia.

Ivan…

[peekandpoke]

Ivan Aivazovsky (1817-1900) Ship on a Stormy Sea.

The vast majority of Aivazovsky's works depict the sea. Aivazovsky "never painted his pictures from nature, always from memory, and far away from the seaboard." "His artistic memory was legendary. He was able to reproduce what he had seen only for a very short time." He was praised for "his ability to convey the effect of moving water and of reflected sun and moonlight."