The widow of the great marine painter noticed that her husband, as a rule, painted a picture in one day: he got up at the easel at eight in the morning, and by five in the evening the picture was already finished. He even had paints arranged on the palette in a strict sequence: white, Neapolitan yellow, cadium orange, ocher, red, black, then ultramarine… Hovhannes Konstantinovich once said about this: “The colors on the palette are like the keys on the piano. How would the pianist play if they were arranged as they should? The musician does not look at the keys, unmistakably extracts the desired note of the desired duration. This is how harmony is achieved. I hardly look at the palette either, only at the canvas.”
While the relatives were speaking, Vardan remembered that, having arrived in Feodosia for the first time, he and Natalya went to inspect the artist’s art gallery. She spoke very professionally about one of the paintings depicting the sea surface: here you can clearly see how skillfully Hovhannes Konstantinovich used a translucent layer of paint, using white ground as a luminous lining; in this way he masterfully achieved the effect of water transparency, and this is very difficult. Two years of work in the gallery allowed Natalia to become a good specialist in the field of painting.