The theological dominant in I. Ivazovsky's work

Researchers have not given due attention to the theological component of I. Aivazovsky’s oeuvre. In this article, the author describes it as the semantic dominant of the artist’s entire work. To prove this hypothesis, she cites both central and little-known works as well as extensive archival materials. Aivazovsky was able to reach the heights of professional achievement because his individual language combines a synthesis of artistic traditions and great spiritual integrity, common to the works of the best Russian painters of the second half of the 19th - early 20th centuries.