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Sea Glass Mosaic Sailboat
Get Carried Back to the Beach on a Sea Glass Mosaic Sailboat
By Jackie Trimper
Have you ever asked yourself, “What am I going to do with all this sea glass?” Well, have I got a solution for you. Here is all you need to know to create a sea glass mosaic sailboat to display some of your sea glass and showcase some of your favorite beach treasures.
I have found that working with sea glass to create art serves a purpose for my sea glass and results in a beautiful way to display it as it hangs in the window with the sunlight shining through. Those little pieces of glass that have been collected along the shoreline can instantly return me to the feeling of calm and peace that being at the beach always brings to me. And so it is that handling and sorting sea glass, working on a sea glass mosaic, or looking at the completed mosaics has tremendous power to transport me back to the beach and bring back that “beach feeling” once again.
As I walk along the beach and look out over the water, seeing the clean crisp edges of a sail can evoke a feeling of adventure and carry me away as I can imagine myself floating upon the top of the water. Whenever I see pictures of sailboats, I get that same feeling of calm that comes with being at the beach and dreaming of being carried over the water to far away places. I am therefore drawn to creating sailboats with my sea glass. It is common for glass to be broken in triangular shapes and so often when I pick up a triangular piece of sea glass on the beach, I imagine it to be the sail of a boat out on the water.
So…take a look in your collection of sea glass and other beach treasures and pick out a few pieces you would like to showcase in a sea glass mosaic art piece.
1. 8" x 10" picture frame with glass. I prefer to recycle old frames, but you can use a new one if you prefer.
2. Small tube of clear silicone. See insert on why I use clear silicone for an adhesive.
3. Sea glass: a mixture of green for the water, white for the sky, and brown for the boat.
4. Some special pieces of sea glass you want to showcase. Each finished mosaic is a one of a kind piece of art because of the special pieces you decide to use in your mosaic.
5. Wooden skewers: small toothpicks or BBQ skewers.
6. Paper and pencil for pattern.
7. Hanging hardware.
Prepare your frame by removing the backing and attaching the glass into the frame by inserting the glass and applying a small bead of clear silicone around the edges of the glass on the back. Allow the silicone to set overnight before beginning your art piece.
Sort your sea glass by color and size. Choose some special pieces that you want to showcase to include in the sails. As well, set aside two triangle shapes and two long shapes to make two small sailboats in the background.
Draw the pattern of a sailboat on a piece of 8" x 10" paper and tape the pattern to the back of the glass in the frame. Be sure that the line you create on the horizon is straight and at a 90-degree angle with the edge of the frame. The horizon line over water is always straight in nature.
Arrange the special pieces you want to showcase in the sail of the sailboat and fill in the remaining area of the two sails and the boat with brown sea glass. To attach the sea glass pieces, apply a small bit of silicone to the back of each piece of sea glass. It will take some time to set so you have time to move pieces around. Add in the two background sailboats where you would like them.
Using the silicone, attach green sea glass for the water. Arrange the sea glass so there are small pieces of green on the horizon line, with the pieces getting larger as you move towards the bottom of the frame. This helps to give the impression of distance in the water.
Attach white sea glass for the sky. I like to include shades of aqua, sea foam, and pale pastels to add interest to the sky. I also arrange some of the pieces in flowing lines so that the sky appears more dynamic.
Give your mosaic a few days for the silicone to fully set. If you used silicone that is white, you will know it is set when it has dried clear. Attach hanging hardware. I prefer to hang my sea glass mosaics in a window where the changing light of the day brings it to life and provides an ever-changing look to the mosaic.
- I prefer to leave to some space between the individual pieces of sea glass. Your eye will fill in the gaps if the pieces are fairly evenly spaced, creating a good “mosaic effect.”
- Work slowly to ensure you find just the right pieces that work well with each other. It is best to have a large pile of pieces to pick from so you can find pieces that “fit together like a puzzle.”
- Use the wooden skewers and toothpicks to clean off any excess silicone before it dries to make your finished piece look neater.
- Take your time because the longer it takes you to complete your piece of art, the more hours of relaxation you will have while playing with your sea glass.
After completing this small sea glass mosaic sailboat, you will have the skills you need to complete sea glass mosaic designs as large and as complex as your imagination, your sea glass collection, and your time permits. You could try a sailboat as large as this one completed on a 27.5" x 29.5" antique window that came out of a Nova Scotia farmhouse. I call this one Sailboat Regatta . On a piece this big, there is lots of room to add interesting details and showcase even more special sea glass pieces and other beach treasures.
Every time you look at your piece of art it will take you back to the beach and return you to that feeling of peace and calm that you get every time you go to the beach.
To learn more about creating sea glass mosaic art, check out Jackie’s book, Windows to the Past—Creating Sea Glass Mosaic Art . Learn more at jackietrimperseaglass.com .
This article appeared in the Beachcombing Magazine May/June 2019 issue .
I collected a lot of sea glass pieces recently and was wondering about how to make a see-through glass mosaic art. This technique you shared is fantastic! I love it that it requires only a few supplies, and the tips you share make all the difference. Thank you so much for writing this tutorial!
This is a great article and so good of you to share all your tips and tricks! Your book is awesome and has been so helpful – plus beautiful as it sits on the coffee table. Hats off to artists like you!
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Ivan aivazovsky gallery.
Gallery , Home , Oil Paintings , Paintings , Russian Artist
12 fascinating facts about artist
Aivazovsky was an avid painter. He is an author of 6 000 paintings. During his lifetime, the artist had 120 personal exhibitions in Russia and abroad. He was only 26 years old when his paintings were shown at the Louvre.
Aivazovsky continues to amaze the audience with the realistic waves and lunar paths. Though he did not like to work in plein air. The artist considered it impossible to portray from life the movement of the elements, the breath of the sea, the blaze of lightnings. Aivazovsky painted the seascapes in his studio relying on the memory and imagination.
Aivazovsky`s popularity at home was unprecedented. In 1850, Nicholas I, the Emperor of Russia, acquired ‘The Ninth Wave’ painted by the 33-year-old artist. During the boat journey with the artist, standing on the deck, the Emperor said, «Aivazovsky! I’m the king of the earth, and you are the king of the sea!» Nicholas I used to ask the people close to him whether they were familiar with the works of Aivazovsky and whether they had any of them. Those wishing to please the Tsar hurried away to buy pieces by Aivazovsky for their mansions.
And this seascape entitled «Chaos: Creation of the World» was painted in 1841. At that time, Aivazovsky lived in Italy (Russian artists had a habit to travel to Italy in search of inspiration and beautiful views then). The rumors of the Russian artist who had completed an incredible picture with a scene of the birth of the world from chaos reached Pope Gregory XVI. The artist was invited to the Vatican. The Pope saw the canvas and was anxious to buy it. The artist denied the fee and passed the painting to the Pope as a gift. In return, Pope Gregory XVI honoured Ivan Aivazovsky with the Gold Medal.
Emperor Nicholas I was terribly upset when at the height of his fame, Aivazosky decided to leave St. Petersburg for his tiny home town of Feodosia on the Black sea, Crimea. But the artist was adamant, so he left and lived in the province until the end of his days. He always considered Feodosia being his home despite he visited Berlin, Vienna, Trieste, Dresden, Rome, Istanbul and many other cities and countries and could afford to live anywhere. Aivazovsky promoted the welfare of his homeland. His influence on Feodosia’s life was huge. The painter established an art school, a library, a fountain, a concert hall and a picture gallery in Feodosia.
Aivazovsky was an inquisitive person. For instance, he was anxious to know how the Niagara Fall looked like and what the difference between the sea waves and the ocean waves was. In 1892, he was 75 when he came to the USA. His plan was to see the Niagara Falls, to visit New York and Washington, and to showcase his pictures at the World Expo. All done! He even took his wife Anne across the ocean, making it a romantic cruise on the occasion of the 10th anniversary of their wedding. But the Niagara Fall was surely painted by memory and from his sketches when Aivazovsky was back home, in his studio.
During his sea journeys, Aivazovsky got into the storms repeatedly. Once the ship with Aivazovsky on board got caught in such a severe storm, that the European newspapers were quick to write about the shipwreck and the death of all the passengers, including the artist Ivan Aivazovsky. They were wrong! And the artist managed to memorize the views, which he would later use in many of his paintings.
Aivazovsky is a representative of the Romantic school of painting. This fact, together with the artist`s nature explain best why most of his paintings feature the storms, as the disasters and strong emotions fascinated Aivazovsky immensly. But a calm sea is also great in his paintings. Just look how much passion is in the sky over the tranquil sea.
Armenian by nationality, Aivazovsky had a rough spirit. He considered Constantinople to be the most beautiful city in the world. Turkish sultans Abdul-Majid I and Abdul Hamid II collected paintings by Aivazovsky, having awarded him with numerous medals. But after the mass killings of Armenians by the Ottomans in the 1890-ies, Aivazovsky changed his attitude to the patrons. As soon as he returned home from another overseas trip, he did not even take off his clothes.
Instead of having rest after the journey he pulled out his shining medals, pinned them the collar of his dog and marched this way through the city of Feodosia. This strange procession was joined by almost the entire city. Having approached the sea, Aivazovsky got into into the boat, sailed away at a sufficient distance from the shore, raised the shining medals over his head and threw them into the sea.
Aivazovsky held the post of Chief artist of the Naval staff. He painted the views of the port cities, participated in the naval campaigns of the Russian Empire — in short, making artistic PR of the Russian Navy. The sailors adored the artist as well. The whole fleet would begin firing cannons without any military need just to let Aivazovsky observe how the smoke was dissipating in the fog so that the artist could paint it realistically in his works-to-be.
When Aivazovsky was celebrating the 80th anniversary, the best ships of the Russian Navy arrived to Feodosiya to honor the artist.
Where did Aivazovsky come from? He grew up in a poor family of the Armenian merchant. His early career could be a plot for a good movie. The boy named Ovannes (that was the artist`s real name; later on he would call himself Ivan, in the Russian way) loved to draw silhouettes of the ships and figures of the sailors. There was neither paper, no pencils at home, therefore Ovannes painted with charcoal on the fences and the whitewashed walls. Aivazovsky was caught in this «criminal» act by the architect and the mayor of Feodosia. They gave the talented boy his first albums and paints, sending him to study later on.
How did Aivazovsky die? If you have read this article until the end, then you can guess. Of course, it happened by his easel when the artist was completing another painting. He was nearly 83 years old. And after his death his fame has not waned. So, in 2017, to commemorate the 200th anniversary of Aivazovsky, Russia, Ukraine and Armenia (three countries that consider him to be their son) issued the coins with the portraits of Aivazovsky and details of his paintings.
Ivan Aivazovsky Paintings
via Ivan Aivazovsky Wikipedia
12 fascinating facts about artist (via medium ):
Tags Gallery Marine Painting painting sea
- Corrections
Ivan Aivazovsky: Master of Marine Art
Artists often have favorite subjects to which they return time and again. Ivan Aivazovsky painted the sea, inspiring a whole generation of European Romantic artists.
Ivan Aivazovsky painted water as no one else did, his waves reflecting light and capturing the softest glimmers of stars with their foam-capped peaks. His uncanny ability to detect the smallest changes of seas earned him the title of Master of the Marine Art and created a plethora of legends that surround his name up to this day. One such legend suggests that he bought the oils from William Turner himself, which explains the luminescent nature of his colors. Aivazovsky and Turner were indeed friends, but neither used magical pigments in their works.
Ivan Aivazovsky: The Boy And The Sea
Ivan Aivazovsky’s life could inspire a movie. Armenian by descent, he was born in Feodosia, a town on the Crimean peninsula located in the Russian Empire . Exposed to diversity from his earliest childhood and born Ovanes Aivazyan, Aivazovsky would grow into a talented, multilingual artist and learned man whose paintings would be admired by many, including the Russian Tsar, the Ottoman Sultan, and the Pope. But his early life was far from easy.
As a child from a poor family of an Armenian merchant, Aivazovsky could never get enough paper or pencils. Unable to resist the urge to paint, he would draw the silhouettes of ships and sailors on whitewashed walls and fences. Once, while the future painter was vandalizing a recently painted façade, an unexpected stranger stopped to admire the sharp outlines of one of his soldiers, whose proportions were perfectly preserved despite the sloppiness of his technique. That man was Yakov Koch, a prominent local architect. Koch immediately noticed the boy’s talent and gave him his first album and paints.
More importantly, the architect introduced the young prodigy to the mayor of Feodosia, who agreed to allow the Armenian boy to attend the classes with his children. When the mayor became the head of the Taurida Region (guberniya), he brought the young painter along with him. It was there, in Simferopol, that Aivazovsky would paint first of his 6000 paintings.
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Nowadays, everyone who has ever heard of Ivan Aivazovsky associates him with marine paintings. Little is known about his sketches and etchings, nor his landscapes and figures. However, Aivazovsky was as versatile as many other Romantic painters of the time. His interests revolved around historical plots, cityscapes, and people’s hidden emotions. The portrait of his second wife , for example, gives off the same vibes of mystery and profound beauty as his marine art. However, it was his love for water that accompanied him his entire life. After his acceptance to the Imperial Academy of Art in Saint Petersburg in 1833, Aivazovsky simply redirected that passion. After all, where else would one find such a combination of water and architecture as in the so-called Venice of the North?
Perhaps it was Aivazovsky’s homesickness that compelled him to return to the sea. Or perhaps it was the multitude of unforgettable colors he would see in a wave. Aivazovsky once said that it is impossible to paint all the greatness of the sea, to transmit all its beauty and all its menace when looking directly at it . This phrase recorded in his writings gave birth to an urban legend that remains prominent in popular Russian memory: Aivazovsky rarely ever saw the real sea. That, of course, is largely a myth. But like many myths, it does also contain a grain of truth.
At first, Aivazovsky painted his marine views mostly from memory. He could not spend all his time at the Baltic Sea in Saint Petersburg, nor could he always return home to Feodosia to see the Black sea. Instead, the artist relied on his stellar memory and imagination, which allowed him to replicate and recreate the tiniest of details of a landscape that he had only glimpsed at or heard about. In 1835, he even received a silver medal for his marine landscape, capturing the severe beauty of the damp and cold climate of the region. By that time, the artist had already become Ivan Aivazovsky, changing his name and falling under the spell of European Romanticism that was dominating the world art scene.
A Romantic Artist And His Marine Art
After receiving his first silver medal, Aivazovsky became one of the most promising young students at the Academy, crossing paths with the stars of Russian Romantic Art, such as the composer Glinka or the painter Brullov. An amateur musician himself, Aivazovsky played the violin for Glinka, who took a particular interest in the Tatar melodies that Aivazovsky had collected in his youth in Crimea. Allegedly, Glinka even borrowed some of the music for his internationally acclaimed opera Ruslan and Ludmila .
Although he enjoyed the rich cultural life of the imperial capital, the Master of Marine Art never intended to stay in Petersburg forever. He sought not only change but also new impressions, much like most Romantic artists of his time. Romantic art replaced the structured calmness of the previously popular Classicism movement with the turbulent beauty of motion and the volatile nature of humans and their world. Romantic art, like water, was never truly still. And what could be a more romantic topic than the unpredictable and mysterious sea?
Ivan Aivazovsky graduated two years early and was immediately sent on a mission unlike any other. All had to serve the Russian Empire in different ways, but rarely anyone received a commission like the one entrusted to Aivazovsky. His official task was to capture the landscapes of the East and represent the glory of the Russian Navy. As an official painter of the Navy, he painted the views of port cities, ships, and ship formations, befriending high-ranking officers and ordinary sailors alike. The whole fleet would start firing cannons just for Aivazovsky, so he could observe the smoke dissipating in the fog to paint his future works. Despite his military surroundings, war and imperial politics never interested the painter. The sea was the true and only hero of his paintings.
Like most Romantic artists, Aivazovsky depicted the fleeting movement and emotion of the ever-changing world rather than its structure and organization. Thus, Review of the Black Sea Fleet in 1849 does not focus on the tiny officers who are clustered in the corner of the sprawling masterpiece. Even the parading ships are secondary compared to the light and water that split into a myriad of colors, showing movement in an otherwise ordained scene.
In some ways, certain works of Ivan Aivazovsky’s marine art referenced Theodore Gericault’s The Raft of the Medusa created two decades earlier. The Ninth Wave (a favorite of the Russian Emperor Nicholas I) reflects Aivazovsky’s fascination with the human drama of a shipwreck and the desperation of its survivors. The mighty sea is but a callous witness. Ivan Aivazovsky experienced this cruel nature of the sea first-hand, surviving several storms. Aivazovsky’s sea rages in battle but also contemplates when people stop to ponder on its shore.
In his Galata Tower by Moonlight , painted in 1845, the sea is dark and mysterious, just like the small figures gathering to watch the rays of moonlight on the shimmering water. His depiction of the Battle of Cesme ten years later leaves the sea burning with the wrecked and thrashed ships in the center of the picture. On the other hand, his Bay of Naples is as serenely peaceful as the couple who watches the waters.
Secret Techniques And International Fame
Like all Romanticism painters of his time, Ivan Aivazovsky yearned to see Italy. When he finally visited Rome, Aivazovsky was already a rising star in the European art world, attracting the attention of powerful rulers and making friends with great European artists such as J. M. W. Turner . The Bay of Naples on a Moonlit Night impressed Turner so much that he decided to dedicate a poem to Aivazovsky. The Roman Pope himself wanted to buy Chaos for his personal collection and went so far as to invite the painter to the Vatican. Ivan Aivazovsky, however, rejected the money and instead offered the painting as a gift. As he traveled the world, he participated in numerous solo and mixed exhibitions in Europe and the United States. He even showcased his pictures at the World Expo.
While Aivazovsky also addressed historical and religious topics such as the Baptism of the Armenian people , he preferred to see himself as the Master of Marine Art. Indeed, his paintings of water were what garnered the most attention. He was also the first-ever Russian painter to be exhibited in the Louvre . Additionally, his most expensive work was, in fact, one of his marine paintings. Long after his death, in 2012, Sotheby’s Auction sold his View of Constantinople for $5.2 million. Aivazovsky’s unique technique became his most renowned selling point: this secret technique best shone on the water.
During his lifetime, the famous Russian painter Ivan Kramskoy wrote to his benefactor Pavel Tretyakov (the founder of the world-famous Tretyakov Gallery in Moscow) that Aivazovsky must have invented some luminescent pigment which gave that unique brightness to his works. In reality, Ivan Aivazovsky used a glazing technique and took it to new heights, turning the method into his defining marker.
Glazing is the process of applying thin layers of colors one over another. A glaze subtly modifies the appearance of the underlining paint layer, imbuing it with the richness of hue and saturation. Since Aivazovsky mostly used oils to create his masterpieces, he took great care to make sure that the pigments never mixed. Often, he applied glazes immediately after preparing the canvas, unlike his predecessors, who relied on the nuanced power of glazes when adding finishing strokes to their paintings. Aivazovsky’s glazes revealed layers upon layers of thin paint that turns into sea foam, waves, and moonlit rays on the water. Because of Aivazovsky’s love of glazing, his paintings are also famously known for their slow degradation.
Ivan Aivazovsky’s Final View Of The Sea
At the height of his fame, Ivan Aivazovsky decided to return to his hometown of Feodosia. It is said that Emperor Nicholas I was terribly upset by the painter’s decision but allowed him to leave. Upon returning to Feodosia, Aivazovsky established an art school, a library, a concert hall, and an art gallery. As he aged, Ivan Aivazovsky never lost the respect of the Russian Navy. On his 80 th birthday, the best ships of the fleet docked in Feodosia to honor the painter.
Ironically, his studio’s windows did not overlook the sea but instead opened into a courtyard. However, Aivazovsky insisted on painting the evasive and beautiful powers of nature from memory. And he did just that: he painted the sea and breathed in its salty air coming in from the streets. One of his most famous and largest paintings (measuring 282x425cm), Waves , was created in that studio by 80-year-old Aivazovsky.
Aivazovsky died while working on a painting – his final view of the sea. Among the many things he left behind was his secret glazing technique that made his waves come to life, the fame of being one of the first Russian painters to be recognized in the West, a fascination with his Armenian heritage, and his academic legacy. And most importantly, of course, he left behind thousands of paintings, all of them a confession of eternal love to the sea.
Romanticist Art for Dummies: A Beginner’s Guide
By Ana-Teodora Kurkina MA & PhD in History Ana is a social historian who holds a PhD in history from LMU Munich and UR Regensburg. She earned her second MA from Central European University, Budapest and her first MA from MSU, Moscow. When she is not writing about art and propaganda, she plays strategic boardgames. Her professional interests revolve around Eastern Europe.
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Original Official Site of the Russian National Tourist Office The Pushkin Fine Arts Museum The Tretyakov Gallery Gorky House Museum One of Moscow's finest examples of the art nouveau architecture of Fyodor Shekhtel, also known as the Ryabushinsky Mansion. The building served as the residence of the great writer Maxim Gorky from 1931 to 1936. Built just after the turn of this century, the mansion is appealing for its remarkable design and decoration, both inside and out. Shekhtel's design is an almost hallucinatory masterpiece of wave forms, floral mosiac and stucco decorations, and vibrant hues--the uncontested highlight is the sinuous main stair. All of this contrasts strongly with the building's significance as the home of one of Russia's greatest "proletarian" writers, but the irony merely adds interest to a visit.
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Step 4: Arrange the special pieces you want to showcase in the sail of the sailboat and fill in the remaining area of the two sails and the boat with brown sea glass. To attach the sea glass pieces, apply a small bit of silicone to the back of each piece of sea glass. It will take some time to set so you have time to move pieces around.
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Ivan Konstantinovich Aivazovsky (Russian: Ива́н Константи́нович Айвазо́вский; 29 July 1817 - 2 May 1900) was a Russian Romantic painter who is considered one of the greatest masters of marine art. Baptized as Hovhannes Aivazian, he was born into an Armenian family in the Black Sea port of Feodosia in Crimea and ...
Battle of Cesme by Ivan Aivazovsky, 1848, via Aivazovsky National Art Gallery, Feodosia. In his Galata Tower by Moonlight, painted in 1845, the sea is dark and mysterious, just like the small figures gathering to watch the rays of moonlight on the shimmering water. His depiction of the Battle of Cesme ten years later leaves the sea burning with ...
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