(1860 - 1900)
He was called the singer of Russian nature. The Russian landscape is very good in Levitan. It was given somehow especially calling. His silence is especially sad. Its expanses speak of the primeval nature. There is a lot of some kind of personal loneliness in his canvases alone with nature and Russia.

The future artist was born in the village of Kibarty, Kovno province, on the western border of the Russian Empire, in the family of a poor stationmaster. He lived among those who were engaged in usury and trade. He lived in a Jewish environment. His grandfather was a rabbi.

Little Isaac did not like fuss. He often wandered around the outskirts, admiring the sunset and waiting for the first star to appear. He was unsociable and preferred communication with people to communication with nature. He did not like to sit at home, but in the family he was considered not quite normal child. He dreamed of beauty and wide world. He grew up lyricists in spite of his surroundings. Meanwhile, the family was terribly poor. And then the father decided to take the risk - to leave for Moscow. In Moscow, they stopped at Solyanka, in a huge house. The room was cramped and dark, fuming from a kerosene lamp. It was cold and dreary in Moscow. I remembered Kybarty with spacious distances. Isaac went to school. He gradually got used to big city, began to notice that Moscow is beautiful.

At the age of 13, he entered the Moscow School of Painting, Sculpture and Architecture. He succeeded in "artistic studies", where his successes were always noted. But at this time, his mother dies, and soon his father, who fell ill with typhus, also dies. At the age of 17, he remains absolutely beggar. He is expelled from the school for non-payment of tuition. And yet, fellow students find the right amount for him, and Levitan continues his education. The school exempts the young man from tuition fees. He spent the night, hiding from the watchman, here, on the top floor. He did not have a home or a corner of his own. After some time, A.K. Savrasov took Levitan to his workshop.

His happiness knew no bounds. Levitan is now a devoted student of Savrasov. The first exhibition in which Levitan participated took place in 1877. His works "Autumn" and "Overgrown Courtyard" were highly appreciated by critics. The start was brilliant. His path is also quite determined - he will paint a "portrait of Russian nature." In 1879, he lives in Saltykovka near Moscow, travels daily to Moscow in a "cast iron" and works hard.

And his diligence was rewarded. Tretyakov noticed a young landscape painter. I bought his painting “Autumn Day. Sokolniki" for 100 rubles. The artist is 19 years old and has to earn his living. Therefore, he daily painted pictures for the buyer, painted market landscapes. And again luck - acquaintance with Savva Mamontov, who invited Levitan to paint scenery together with V. Vasnetsov for the opera "Mermaid" by Dargomyzhsky. The premiere of the opera was brilliant. For the work, Levitan received an amount sufficient for a trip to the Crimea. He painted the harsh Crimea, and his 50 Crimean studies made him a success in Moscow. He became famous as a landscape painter. Unhappy love for the young artist Sofya Kuvshinnikova makes Levitan flee from social life and settle on the Volga.

The 1880s are considered the best and most fruitful period in the artist's work. He writes "Evening on the Volga". He writes space, will and freedom, which corresponded to the heroic scope of the river. Levitan "discovered", as everyone believes, this provincial Volga town - Ples. Levitan writes a rosy evening, a river embraced by sunset. He writes a mysterious peaceful antiquity. Writes "Birch Grove", and "After the rain. Plyos", "Overgrown Pond". Painting «Evening. Golden Ples" was amazing. Here everything is intertwined with everything - water and sky bathe in a kind of golden haze. Evening fog creeps along the banks of the Volga. The joy of the day and the sadness of the evening seem to intertwine with each other. This beauty is silent and pure.

He will leave for Moscow and again, together with Kuvshinnikova, will return to the Volga. He now writes easily and well. Now this is Yurievets. Ancient city old legends. There he came across an old monastery. The painting “Quiet Abode” was born - a many-headed church is buried in greenery in the sunset rays. And everything is cheerful.

The painter Polenov recommended him to the Wanderers - Levitan went to St. Petersburg for a gala dinner of the Association, where he was accepted into its ranks. He now constantly participates in the annual exhibitions of the Wanderers.
The following summer, Levitan, together with Kuvshinnikova, settled in a dacha in the Tver province, in a calm. There was a dam nearby, shrouded in the legend of the drowned miller's daughter. All summer the artist has been working on the painting “At the pool”. And in 1892 he lives in the village of Gorodok near Boldin of the Nizhny Novgorod railway. There the picture "Vladimirka" is born - a picture about the road of sadness, about the road of convicts.

In March 1894, Levitan travels abroad - Vienna, Nice, Paris ... There he acutely understands that "there is no better country than Russia!" He will return home in the fall and will write a lot. His canvases are light - "March", "Fresh wind. Volga", " gold autumn».

summit landscape painting became Levitan's "Spring - big water". In the hollow water that flooded the trees, the huts, an empty boat sways quietly, stretching upwards, to an unthinkable height, the branches of still bare trees.

In less than 25 years, Levitan painted about a thousand paintings, sketches, and drawings. European fame comes to Levitan in 1897 - he is elected a member of the Munich Secession, the next year he is an academician of painting, invited to lead a landscape class at a school that he himself once graduated from.
Levitan works hard, but his illness (severe heart disease) is getting stronger. At the end of July 1900, Levitan's heart stopped. Serov came to the funeral from abroad, and Nesterov in distant Paris survived the mourning post at his works at the International Exhibition in Paris.

Plan:

I. Singer of Russian nature

II. Brief biography information

III. Creativity Levitan

IV. Description of the artwork «March»

v. Levitan's paintings: "March", "Vladimirka", "Autumn Day. Sokolniki."

VI. Final article

I . Russian nature had many singers. Each of them had their own favorite places in the country and had their own passions. Each of the writers and artists discovered certain traits in Russian nature that captivated him and tried to convey love for them to his contemporaries and descendants.

But none of the artists expressed the nature of central Russia with such fullness as Isaac Ilyich Levitan. Almost none of the artists before Levitan showed the deep charm lurking in the simplicity of the Russian landscape. Almost no one before Levitan showed the grandeur of our open spaces, the hidden power of our soft, sometimes as if shaded colors, all the picturesqueness of the most ordinary things - from the rain drizzling over the felling to the path leading from the well to the hut. Looking at the paintings of Levitan, we catch ourselves on the fact that we have seen around us many times what was written by this excellent artist, but did not remember. All this slipped past us like a landscape outside the windows of a carriage.

The strength of Levitan lies in the fact that he makes us look into nature and conveys to us his love for the motherland. Most of us can just look, when we have to learn to peer, observe and remember. Only then will we discover in the nature around us such a variety of forms and colors that we did not suspect before. This is the kind of in-depth observation of nature that artists and, first of all, Levitan teach us.

During the life of Levitan, it was customary to look for and find in his paintings various shades sadness, sadness and even despondency. The time was dismal. It tried to paint everything around in its own color. Levitan's despondency is, of course, the deepest lie. How can you call sad artist that revealed all the richness of the colors of Russian nature in all their continuous variability?! How can one talk about the sadness of an artist whose paintings are saturated to the last thread on canvas with love for his country?!

There was no sadness and no. But sometimes, when we see Levitan's paintings, we have a completely legitimate regret that we cannot immediately, right now, at this moment, be transported to those places that are depicted on the canvas. This is not sadness at all, this is a completely different - effective, lively, fruitful, familiar feeling to everyone, which we call sadness only because we cannot define it more precisely.

Levitan gave his whole life to sing our native country. Therefore, our gratitude to the artist is so great.

II . Levitan was born in August 1860 in the small Lithuanian town of Kybartai. There is almost no information about the artist's childhood. He never remembered his past, and shortly before his death, he destroyed his archive, letters from relatives and friends. In his papers, they found a pack on which Levitan's handwriting read: "Burn without reading." The will of the deceased was fulfilled. But the memories of people who knew Levitan closely make it possible to restore the main facts of his life.

He was born into a poor Jewish family of a railway employee. Having lost his father and mother early, he was left without any means of subsistence. His childhood and youth were full of deprivation and humiliation. As a Jew, he was repeatedly subjected to various persecutions. Even being recognized by all, famous artist, he was forced to leave Moscow, and only the persistent efforts of his friends allowed him to return and obtain the right to reside in its environs. In 1873 he entered the Moscow School of Painting, Sculpture and Architecture. His teachers were the Wanderers, outstanding masters landscape - first A.K. Savvsov, then V.D. Polenov. The artist’s paintings, starting from his early works (“Autumn Day. Sokolniki.”, “Bridge. Savvinskaya Slobidka.”) seem to say: there are no catchy, dazzling views in Russia, but the charm of its landscapes is different. Everything here requires a leisurely, thoughtful look. But an attentive viewer will discover a different beauty, perhaps deeper and more spiritual.

III . Russian nature is not characterized by bright colors, sharp lines, clear edges: the air is humid, the outlines are vague, everything is unsteady, soft, almost imperceptible. However, the Russian landscape opens up space to the eye, behind which one can guess more space - and so on without end ("After the Rain. Ples"). The artist said: "Only in Russia can there be a real landscape painter." In the painting "At the pool" Levitan plays with the images of folk poetry: the pool is an unkind place, a dwelling evil spirits. This is a place of despair - here they take their own lives. The artist depicted the pool as mysterious; the whole landscape is filled with mystery, but also with the promise of peace, the end of a difficult journey. The painter K.A. Korovin recalled how Levitan said: “This longing is in me, it is inside me, but ... it is spilled in nature ... I would like to express sadness.”

Similar feelings are evoked by the famous painting “Vladimirka”. The deserted, endless road - the path of those sentenced to hard labor - gives rise to a feeling of hopelessness.

The painting "Above Eternal Peace" can be called a philosophical landscape. There is more heaven here than earth; it is motionless like the earth. The mystery of death (“eternal rest” - words from the prayer for the dead) and the mystery of life (the sky is a symbol of immortality) are hidden in this work.

One of Levitan's most lyrical paintings is "Evening Bells". This small canvas arose thanks to the impressions of the Savvino-Storozhevsky monastery near Moscow and the monastery near the city of Yuryevets on the Volga. The master wanted to convey the feeling of peace that was born in his soul at the sight of the white walls and the domes of these modest cloisters sparkling in the sun. The painting depicts a summer evening. By gently blue sky floating pink clouds. They are reflected in the mirror surface of the river. It also reflects the cathedral with the bell tower of a small monastery on the other side. Around the monastery there is a forest, illuminated by the last rays of sunset. The artist does not use here either bright colors, no sharp contrasts; all the tones on the canvas are muted, calm. It seems that only the bells break the silence of the passing day.

In 1894 - 1895. there was a change in the soul of the artist. After the sad dim canvases, he began to paint cheerful, full of triumphant beauty pictures. One of these works is Golden Autumn. This work is extremely harmonious both in composition and color.

All Russian artists of the border XIX – XX centuries, depicting nature, one way or another, were influenced by the work of Isaac Levitan - recognizing or rejecting his pictorial style.

IV . Levitan's painting "March" with its triumphantly joyful colors has gained wide popularity: this work can be called one of the most poetic Russian landscapes of the end XIX in. Creating this picture, Levitan lay in wait for a particularly touching moment in the life of our northern nature: a bright eve before the onset of spring. In the forest, among the trees, there is still deep snow, the air is still freezing from frost, the trees are still bare, even the first spring guests, rooks and starlings, have not yet appeared in our area. But the sun is already warming, the snow is dazzlingly shining in its rays, the shadows are pouring with a lilac blue, swollen buds are already visible on the bare branches against the sky, the approach of warm days is felt in the air - everything portends spring: all nature, all objects - everything is permeated with expectation. This state is also expressed in its own way by a quiet village horse with a sleigh, which stands motionless on the warm porch and patiently waits for its owner.

Levitan has long ago abandoned entertaining household figures in his landscapes. But his horse in "March" is the focus of the whole landscape: it is impossible to remove it from the picture, just as it is impossible to pull the heart out of a living body. Nothing happens here, and nothing can happen; we just stand together with this village horse, stand and wait, and are able to admire this first smile of the awakening spring for hours.

The understatement enhances the poetic charm of this landscape: an empty birdhouse on the tall, still bare branches of a poplar reminds us that its inhabitants will soon return, an open door serves as a sign that a person has just been here. The construction of "March" is distinguished by exceptional simplicity, clarity and accuracy. The edge of a wooden house with its boards going deep into the picture, as well as a wide strip of a thawed road, involve the resident in the picture, help him mentally enter it, but March differs from most of Levitan's other landscapes in a more closed, cozy character; the movement inward is somewhat weakened by the lines of slenderly curved white trunks, consonant with the outlines of the road, diverging like a fan, which, quiveringly curving, stand out on blue sky and on dark coniferous greenery. The horizontal edge of the snowy field divides the picture into two different parts and brings a note of tranquility to it. These simple line ratios are not intrusive: everything seems simple, natural and even uncomplicated, and yet the selection of these compositional lines gives a modest corner both completeness and completeness. Nothing can be added to this landscape by Levitan, nothing can be taken away from it. Unlike earlier landscape painters, who sought to show the whole subject, to fit the whole tree, the whole house within the picture, Levitan puts his picture together as if from separate fragments cut off by the frame, but all these parts, fragments form a complete whole, make up a kind of unity. Never before had he found such happy perfection in nature as near this village house, on the edge of the forest.

VI . Levitan managed to convey in a new, fresh, soulful way the beauty of the village street, the touching outskirts of the village, the mystery of the whirlpool, autumn leaf fall, trembling naked aspens and groves of white-trunked birches, the March thaw and blue shadows on loose porous snow. Everything shone, sang and completely captivated the audience, who recognized in Levitan's landscapes their own, intimate, native, which is called Rus.

Critics dubbed Levitan "the singer of sunsets and autumn sorrow." But he did not like this nickname.

Levitan died a few years before the first outbreaks of popular uprisings in 1905. He waited for them, he believed in them. But the old enemy of the poor - tuberculosis - brought down the master during the period of the greatest flowering of his talent.

Now many of Levitan's works are in the Tretyakov Gallery. With their appearance, the appearance of the works of Repin, Surikov and many other contemporaries of these painters, a brilliant period of Russian art begins.

"Vladimirka". 1892, State Tretyakov Gallery

"March", 1895, State Tretyakov Gallery

"Autumn day. Sokolniki." 1879 State Tretyakov Gallery

Bibliography :

1) M.V. Alpatov, N.N. Rostovtsev, M.G. Neklyudova, encyclopedia "Art", ed.: "Enlightenment", Moscow, 1969, p.440-442

2) M. Aksenova, "Encyclopedia for Children", volume 7,

"Art", part two, ed.: "Avanta plus",

Moscow, 1999, p. 392-395

3) "State Tretyakov Gallery", ed.:

"Art", Moscow, 1988, p.187

4) encyclopedia “What is it? Who is this?”, Volume 1, ed.:

"Enlightenment", Moscow, 1968, p. 400-401

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Abstract on the topic:

Isaac Ilyich Levitan as a singer of Russian nature

Russian nature had many singers. Each of them had their own favorite places in the country and had their own passions. Each of the writers and artists discovered certain traits in Russian nature that captivated him and tried to convey love for them to his contemporaries and descendants.

But none of the artists expressed the nature of central Russia with such fullness as Isaac Ilyich Levitan. Almost none of the artists before Levitan showed the deep charm lurking in the simplicity of the Russian landscape. Almost no one before Levitan showed the grandeur of our open spaces, the hidden power of our soft, sometimes as if shaded colors, all the picturesqueness of the most ordinary things - from the rain drizzling over the felling to the path leading from the well to the hut. Looking at the paintings of Levitan, we catch ourselves on the fact that we have seen around us many times what was written by this excellent artist, but did not remember. All this slipped past us like a landscape outside the windows of a carriage.

The strength of Levitan lies in the fact that he makes us look into nature and conveys to us his love for the motherland. Most of us just know how to look, when we must learn to peer, observe and remember. Only then will we discover in the nature around us such a variety of forms and colors that we did not suspect before. This is the kind of in-depth observation of nature that artists and, first of all, Levitan teach us.

During the life of Levitan, it was customary to look for and find in his paintings various shades of sadness, sadness and even despondency. The time was dismal. It tried to paint everything around in its own color. Levitan's despondency is, of course, the deepest lie. How can one call a sad artist who has revealed all the richness of the colors of Russian nature in all their continuous variability?! How can one talk about the sadness of an artist whose paintings are saturated to the last thread on canvas with love for his country?!

There was no sadness and no. But sometimes, when we see Levitan's paintings, we have a completely legitimate regret that we cannot immediately, right now, at this moment, be transported to those places that are depicted on the canvas. This is not sadness at all, this is completely different - an effective, lively, fruitful, familiar feeling that we call sadness only because we cannot define it more precisely.

Levitan gave his whole life to sing our native country. Therefore, our gratitude to the artist is so great.

Levitan was born in August 1860 in the small Lithuanian town of Kybartai. There is almost no information about the artist's childhood. He never remembered his past, and shortly before his death, he destroyed his archive, letters from relatives and friends. In his papers, they found a pack on which Levitan's handwriting read: "Burn without reading." The will of the deceased was fulfilled. But the memories of people who knew Levitan closely make it possible to restore the main facts of his life.

He was born into a poor Jewish family of a railway employee. Having lost his father and mother early, he was left without any means of subsistence. His childhood and youth were full of deprivation and humiliation. As a Jew, he was repeatedly subjected to various persecutions. Even being a recognized, famous artist, he was forced to leave Moscow, and only the persistent efforts of his friends allowed him to return and receive the right to reside in its environs. In 1873 he entered the Moscow School of Painting, Sculpture and Architecture. His teachers were the Wanderers, outstanding masters of landscape - first A.K. Savrsov, then V.D. Polenov. The artist’s paintings, starting from his early works (“Autumn Day. Sokolniki”, “Bridge. Savvinskaya Slobidka”) seem to say: there are no catchy, dazzling views in Russia, but the charm of its landscapes is different. Everything here requires a leisurely, thoughtful look. But an attentive viewer will discover a different beauty, perhaps deeper and more spiritual.

Russian nature is not characterized by bright colors, sharp lines, clear edges: the air is humid, the outlines are vague, everything is unsteady, soft, almost imperceptible. However, the Russian landscape opens up space to the eye, beyond which one can still guess the space - and so on without end ("After the rain. Ples"). The artist said: "Only in Russia can there be a real landscape painter." In the painting “At the pool”, Levitan plays with the images of folk poetry: the pool is an unkind place, the abode of evil spirits. This is a place of despair - here they take their own lives. The artist depicted the pool as mysterious; the whole landscape is filled with mystery, but also with the promise of peace, the end of a difficult journey. Painter K.A. Korovin recalled how Levitan said: "This longing is in me, it is inside me, but ... it is spilled in nature ... I would like to express sadness."

Similar feelings are evoked by the famous painting “Vladimirka”. The deserted, endless road - the path of those sentenced to hard labor - gives rise to a feeling of hopelessness.

The painting "Above Eternal Peace" can be called a philosophical landscape. There is more heaven here than earth; it is motionless like the earth. The mystery of death (“eternal rest” - words from the prayer for the dead) and the mystery of life (the sky is a symbol of immortality) are hidden in this work.

One of Levitan's most lyrical paintings is "Evening Bells". This small canvas arose thanks to the impressions of the Savvino-Storozhevsky monastery near Moscow and the monastery near the city of Yuryevets on the Volga. The master wanted to convey the feeling of peace that was born in his soul at the sight of the white walls and the domes of these modest cloisters sparkling in the sun. The painting depicts a summer evening. Pink clouds float across the pale blue sky. They are reflected in the mirror surface of the river. It also reflects the cathedral with the bell tower of a small monastery on the other side. Around the monastery there is a forest, illuminated by the last rays of sunset. The artist uses neither bright colors nor sharp contrasts here; all the tones on the canvas are muted, calm. It seems that only the bells break the silence of the passing day.

In 1894-1895. there was a change in the soul of the artist. After the sad dim canvases, he began to paint cheerful, full of triumphant beauty pictures. One of these works is "Golden Autumn". This work is extremely harmonious both in composition and color.

All Russian artists of the turn of the XIX - XX centuries, depicting nature, one way or another, were influenced by the work of Isaac Levitan - recognizing or rejecting his pictorial style.

Levitan's painting "March" with its triumphantly joyful colors has gained wide popularity: this work can be called one of the most poetic Russian landscapes late XIX in. Creating this picture, Levitan lay in wait for a particularly touching moment in the life of our northern nature: a bright eve before the onset of spring. In the forest, among the trees, there is still deep snow, the air is still freezing from frost, the trees are still bare, even the first spring guests, rooks and starlings, have not yet appeared in our area. But the sun is already warming, the snow is dazzlingly shining in its rays, the shadows are pouring lilac blue, swollen buds are already visible on the bare branches against the sky, the approach of warm days is felt in the air - everything portends spring: all nature, all objects - everything is permeated with expectation. This state is also expressed in its own way by a quiet village horse with a sleigh, which stands motionless on the warm porch and patiently waits for its owner.

Levitan has long ago abandoned entertaining household figures in his landscapes. But his horse in "March" is the focus of the whole landscape: it is impossible to remove it from the picture, just as it is impossible to pull the heart out of a living body. Nothing happens here, and nothing can happen; we just stand together with this village horse, stand and wait, and are able to admire this first smile of the awakening spring for hours.

The understatement enhances the poetic charm of this landscape: an empty birdhouse on the tall, still bare branches of a poplar reminds us that its inhabitants will soon return, an open door serves as a sign that a person has just been here. The construction of "March" is distinguished by exceptional simplicity, clarity and accuracy. The edge of a wooden house with its boards going deep into the picture, as well as a wide strip of a thawed road, involve the resident in the picture, help him mentally enter it, but March differs from most of Levitan's other landscapes in a more closed, cozy character; the movement inward is somewhat weakened by the lines of slenderly curved white trunks, consonant with the outlines of the road, diverging like a fan, which, bending quiveringly, stand out against the blue sky and dark coniferous greenery. The horizontal edge of the snowy field divides the picture into two different parts and brings a note of tranquility to it. These simple line ratios are not intrusive: everything seems simple, natural and even uncomplicated, and yet the selection of these compositional lines gives a modest corner both completeness and completeness. Nothing can be added to this landscape by Levitan, nothing can be taken away from it. Unlike earlier landscape painters, who sought to show the whole subject, to fit the whole tree, the whole house within the picture, Levitan puts his picture together as if from separate fragments cut off by the frame, but all these parts, fragments form a complete whole, make up a kind of unity. Never before had he found such happy perfection in nature as near this village house, on the edge of the forest.

Levitan managed to convey in a new, fresh, soulful way the beauty of the village street, the touching outskirts of the village, the mystery of the whirlpool, autumn leaf fall, trembling naked aspens and groves of white-trunked birches, the March thaw and blue shadows on loose porous snow. Everything shone, sang and completely captivated the audience, who recognized in Levitan's landscapes their own, intimate, native, for which the name is Rus.

Critics dubbed Levitan "the singer of sunsets and autumn sorrow." But he did not like this nickname.

Levitan died a few years before the first outbreaks of popular uprisings in 1905. He was waiting for them, he believed in them. But the old enemy of the poor - tuberculosis - brought down the master during the period of the greatest flowering of his talent.

Now many of Levitan's works are in the Tretyakov Gallery. With their appearance, the appearance of the works of Repin, Surikov and many other contemporaries of these painters, a brilliant period of Russian art begins.

levitan painting march

Rice. 2 - “Autumn day. Sokolniki, 1879 State Tretyakov Gallery

Bibliography

1. M.V. Alpatov, N.N. Rostovtsev, M.G. Neklyudov, encyclopedia "Art", ed.: "Enlightenment", Moscow, 1969, p. 440-442.

2. M. Aksenova "Encyclopedia for Children", volume 7.

3. "Art", part two, ed.: "Avanta plus", Moscow, 1999, p. 392-395.

4. "State Tretyakov Gallery", ed.: "Art", Moscow, 1988, p. 187.

5. Encyclopedia “What is it? Who is this?”, Volume 1, ed.: Enlightenment, Moscow, 1968, p. 400-401.

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Isaac Ilyich Levitan - Russian artist. Born on August 18, 1860 in the town of Kybarty, now Kybartai (Lithuania). Levitan's father is a teacher foreign languages, interpreter. The artist's family lived very poorly, the pennies that his father received for French lessons were barely enough to live on. However, when the children had an attraction to art, the parents took it with joy and helped them in every possible way. As a result, first the eldest son Abel, and then Isaac entered the Moscow School of Painting.

The beginning of his career foreshadowed to be bright and successful, but soon his mother dies, and then his father from typhus. At the age of seventeen, Isaac Levitan found himself on the street, begging and wandering. He is expelled from the school for non-payment. However, his friends collect the necessary amount so that he can return to his studies. Soon, for excelling in art, the council of teachers decides to exempt Levitan from paying and even assign him a small stipend, since the painter's condition was truly disastrous. Maybe it was this attitude of teachers that helped in the formation of Levitan. He did not give up, but continued to paint beautiful pictures that now hang in all the most famous museums peace.

At seventeen, Levitan became a student of Vasily Grigorievich Perov. Sometimes Perov's friend Savrasov joined the classes. Both teachers were itinerant artists. They immediately noticed a talented guy and took Levitan to their workshop.

Despite the fact that Isaac lived in poverty for a long time, wandered, starved, sometimes spent the night where he could - in the attics and on the street, his paintings were appreciated by many leading artists of that time. They admired his talent, the depth of the transmitted image, the seriousness of the presentation of painting. His paintings begin to appear in exhibitions.

The theater helped him escape from poverty. He writes scenery for operas and productions. Small earnings helped him to go to the Crimea. After he brought paintings from the Crimea, he gained real fame. All paintings sold out in a short time. Isaac Levitan painted about a thousand paintings in his life. He was friends with the great people of his era, but in 1896, due to heart disease, Isaac Ilyich Levitan, the great Russian artist, left this world, leaving behind a great legacy of Russian culture.

Birch Grove

Near Bordighera

stormy day

Hut in the meadow

Forest violets and forget-me-nots

Forest in winter

Summer evening. River

Bridge. Slavinskaya Sloboda

Above eternal rest

In the north

Nenufars

Autumn day. Sokolniki

Autumn. Hunter

Apiary

After the rain. Plyos

Quiet abode

Reeds and water lilies

To the 155th anniversary of the great Russian landscape painter

I.I. Levitan

Art painter Alexander Benois recalled that "only with the advent of Levitan's paintings" believed in the beauty of Russian nature. It was Levitan, the first of the best landscape painters of the 19th century, who discovered his native land for his contemporaries. Of which there are many confessions: yes, Central Russian nature is full of poetry, which people, although they always felt, saw, “but somehow did not notice.” “It turned out that the cold vault of her sky is beautiful, her twilight is beautiful ... the scarlet glow of the setting sun, and the stormy spring rivers ... all the relationships of her special colors are beautiful ... All lines, even the most calm and simple, are beautiful. Levitan never chose spectacular corners of nature. A wanderer walked across Russia, transferring to his canvases sad fields under pale high skies, poetic overgrown ponds, gray village twilight, the farewell gold of trees before the onset of winter. And the poor landscape was filled with feelings, acquiring the highest "heavenly" meaning. Thanks to the great canvases of Levitan, Russia revealed its discreet, poetic face.

Isaac Levitan was born on August 18 (30), 1860 in the town of Kibarty, near the railway station, on the western outskirts of Russia. The grandfather of the future artist was a rabbi, but his father preferred the spiritual path of teaching. Life, however, takes unexpected turns, and at the time of the birth of his son Isaac, his father was a railway employee. The family lived in poverty, but in the house in the house there was an atmosphere of warmth, favorable for learning and developing children's talents. The father himself taught two sons and two daughters, the mother free time dedicating to reading, introduced them to the best works of writers. When older brothers and sisters grew up, the parents decided to move to Moscow so that the children could get an education, but they faced severe hardships in life. My father earned money by teaching foreign languages, but there was barely enough money and it was not always possible to make ends meet. In 1875, the mother died, the father died two years later, and the children were left in deep poverty. At this time, the brothers were already studying at the Moscow School of Painting, Sculpture and Architecture, and young Isaac amazed everyone - teachers and students - with hard work, boundless love for painting and native nature. Only this great passion helped him to overcome a difficult fate, to go through the path of an artist who was by no means favored by the graces of fate. Eternally hungry, ragged, under the threat of expulsion for non-payment, without a roof over his head, sleeping out of mercy in classrooms, the young man Levitan is a true example of selfless devotion to art. But he was lucky. From the first years of his studies, he found himself in a lively and interesting environment of progressive teachers and talented comrades. Isaac Levitan studied with A.K. Savrasova and D.V. Polenov - great masters close to him in spirit. Their years of study great value in the formation of Levitan - an artist. By his own nature, Isaac was sympathetic, sensitive, vulnerable and poetic. The new trends that Polenov brought with him, namely, to write in the fresh air, striving for a new coloristic solution, contributed to the rapid flowering of Levitan's talent. At the school, Isaac became close friends with classmates - the future Russian impressionist Konstantin Korovin, Nikolai Chekhov and then his brother-writer, Valentin Serov, who was close to Levitan in terms of the goals they set for themselves, although they were different. Serov was primarily interested in inner world man, his condition, and Levitan was attracted by nature, her mood. From a young age, Levitan was an innovator in the field of artistic research. This innovation was not born overnight. It was prepared by the previous course of development of landscape painting, the peak of which can be considered the picture of the teacher Levitan Savrasov “The Rooks Have Arrived”. What an enormous force the simple motive of Russian nature carries within itself! Levitan was gifted from above - musical perception nature, “with the finest ear of painting”, the ability to convey its soul, to see the landscape in a general tone, to show the most complex interlacing of colors, to create a harmonious whole of a common coloristic solution. It was not in vain that Levitan studied the work of French plein air painters, remaining a deeply Russian artist in his soul. Levitan, a singer of Russian nature, endlessly in love with his native land, went through a difficult but joyful path. Nature was the source that nourished his creativity.

The fame of the nineteen-year-old Levitan was brought by a small painting “Autumn Day. Sokolniki. Seeing it at the exhibition, Pavel Mikhailovich Tretyakov bought it for his gallery in order to support an aspiring artist whose talent did not escape his eye.

A fine autumn rain has just passed, twilight is approaching, the fading nature has froze in inexplicable anxiety. It is cold, uncomfortable, fallen leaves stick out from the thick, yellowing, wet grass, lie in a dense layer on the sides of the sandy path. Soon it will rain again, and it will pour until the morning. This is indicated by a gray wet veil near the horizon, and a blue haze trembling between the trunks of dark pines. The world almost lost its fresh colors, and only young thin maples illuminate it with a golden glow of leaves, miraculously holding on to branches that flutter like small ghostly lamps. And above all this sad world hang white, puffy, filled with water, ready to fall from the sky, clouds. The disheveled tops of the pines seem to bathe in their dense and muddy moisture. In this early work the features of Levitan's talent manifested themselves - a rare emotionality, poetry, the ability to fill the picture with an elegiac-sad feeling of autumn withering and human loneliness. A lone figure of a slender woman in a black coat hurriedly passes along an endless, damp alley. And the viewer feels the cold and homelessness of the park even more sharply. At the same time, a long, gently curving alley, thin maples and tall pines, overhanging rain moisture, creates a holistic musical image. Levitan was very fond of the autumn lyrics of Russian poets, he is close to that “mild smile of withering, which in a rational being we call the Divine bashfulness of suffering.” (F. Tyutchev)

Levitan did not succeed in human figures, and therefore his friend at the School, Nikolai Chekhov, painted a woman for the picture.

After the rain. Plyos

1889 . GTG

The town of Ples on the Volga became famous thanks to Levitan. Choosing picturesque places on the great Russian river, the artist lingered here and painted several wonderful pictures, sunny, joyful. Here he discovered the magic of sunlight, giving people joy. A vivid example of Levitan's discovery is the painting “After the Rain. Ples.

A gray summer rain had just rustled, and the sun was already peeking through the clouds. The sky above the town resembles a cloudy veil, but already timidly, somehow hesitantly, the golden light returns to the world from twilight captivity. Trees, bushes, grass are wet, dark from water and therefore look faded. The forest, behind the houses and the river in the distance, resembles a dark ridge of clouds, the artist saw it so cloudy and blurry. There are light ripples on the water, but each tiny wave oscillates, carrying the reflection of the sun. The river in the distance casts silver. It's getting hot, and the sun's rays, like liquid gold, fill the puddles on the shore with their bright light. The puddles are written in such a way that they can be mistaken for garlands of lights, lit by someone at the edge of the coast. The light is reflected in the roofs of houses covered with sheets of corrugated iron, the sides of boats. It seems like just a moment, and the sun will shine in full force.

Evening. Golden Reach

1889 . GTG

Levitan captured a view of the outskirts of Plyos from the Peter and Paul Hill, where the chapel church was located. Before him was a bird's-eye view of the Volga at the end of a warm summer day. With unusual sensitivity, the artist conveys a sense of peace, silence. Soft, pre-sunset pink light shines over the wide Volga. A gentle haze of fog spreads. The evening coolness, the juiciness of dewy greenery, grass and bushes covering the gentle slope of the hill, is almost felt. It seems that all this living beauty has subsided in anticipation of the bell calling for the evening service. Interestingly, in a white house under a red roof, which is clearly registered on the banks of the Volga, Levitan rented rooms, and now one of the departments of the Plyossky State Historical and Art Museum-Reserve is located here.

Quiet abode

1890 . GTG

The idea for this painting arose in 1887, when Levitan visited the Savvino-Storozhevsky Monastery near Zvenigorod. The artist was struck by the summer sunset, which illuminated the domes and crosses of the monastery with a scarlet light. However, Levitan later found nature in another place, near the city of Yuryevets on the Volga. Having captured the monastery, surrounded by a grove, where an old bridge over a calm river calls and a path lost in a meadow, the artist saturates the image with a sense of blissful peace. A slender white bell tower and domes of churches rise to the blue sky and pink clouds. You can endlessly admire the beauty of the pre-set sun, softly gilding the white walls, golden crosses and domes, treetops and water, which reflects the silhouettes of churches and the greenery of the grove. Touching willows with narrow leaves on the shore look into the blue water with its light ripples. Blue reflections tremble on the damp boards of the bridge. Despite the "composed" in some way, the landscape, the canvas is distinguished by the immediacy of feeling and a deep knowledge of Russian nature. Alexandre Benois found so much living life in this picture that it seemed to the first viewers that it was as if the shutters had been removed from the windows, they were thrown wide open, and a stream of fresh, fragrant air poured into the old exhibition hall. Presented at a traveling exhibition in 1891, "Quiet Abode" brought the author wide popularity among the audience. Evidence has been preserved that the name of Levitan was now "on the lips of all intelligent Moscow." The audience thanked the artist for the "blissful mood, sweet peace of mind”, which this quiet corner of Russia evoked in the hearts.

Vladimirka

1892 . GTG

Once, returning from a hunt, Levitan went to the Vladimir tract. Although in his time railways, the famous "Volodimirka", along which, ringing with shackles, convicts wandered to Siberia, has already lost its purpose, the memory of the "shackle ringing" has been preserved. Not without reason, having created a sketch, Levitan presented it to his friend, a student, a future prosecutor, with edification to look and remember what his predecessors doomed unfortunate people to.

Isaac Ilyich began work on the painting in the summer. There were sunny days. Despite this, the landscape turned out to be gloomy, almost devoid of bright colors. Between the dull fields, a wide ribbon of the road stretches into the distance beyond the horizon. Clouds hung heavy over the earth. Gloomy thoughts are evoked by the cloudy sky and the dim shadows of the clouds. The high horizon reinforces the impression of the infinity of the path along which thousands of convicts marched towards the plight of their fate. Not everyone overcame this path, fell and died along the way. This is about them, about those who fell on the side of the road and could not get up to crawl again, reminiscent of a roadside cross, near which the lonely figure of a wanderer froze, praying to the icon. How many such nameless graves under the crosses, black from the rain, marking the hard way of convicts, were scattered along the Vladimir highway. The motif of the path that goes into the distance, used by Levitan, expresses a feeling of sorrow and sadness. The feeling of melancholy and loneliness dominates the figurative structure of the picture. And yet, this feeling of longing is not the only one caused by the picture. The feeling of the motherland, love for our dim nature, its breadth and grandeur, is evoked by the road, fields and forests spread under the high sky.

At the pool

1892 . GTG

This picture evokes a dark feeling. A narrow river across which logs are thrown. Alas, crossing to the other side is not easy. Scary. The shores are low, damp, uncomfortable. The yellowish-gray glow of the sky, black water, increase anxiety. The sense of danger grows the longer you are near the picture. One wrong step on slippery greenish logs and... remember your name! And the well-known expression “at the edge of the abyss” becomes clear. Looking into the abyss, a person experiences a dark, sweet desire to throw himself into a pool threatening death. The effect of danger is achieved by Levitan in the construction of a rhythmic pattern of a destroyed mill dam and logs thrown across the river. The drawing is skillfully built on a combination of non-joining straight lines that divert the viewer's eye from the salutary central lava log and the path, dragging straight into the whirlpool.

Levitan worked on the painting in the Tver province under the impression of the place, according to legend, that inspired Pushkin to create the "Mermaid". However, Levitan's picture is devoid of fabulousness. Depicting a dead place, a whirlpool, Levitan thought about his personal experience.

Above eternal rest

1894 . GTG

Levitan painted this epic picture in the Tver province, on Lake Udomlya, but painted the chapel with the one that he loved so much on the mountain in Plyos. While working, Isaac Ilyich listened to music - a funeral march from Beethoven's Heroic Symphony. It was such solemn and sad music that helped create the picture, which one of Levitan's friends called "a requiem for himself." It reflected the painter's thoughts about his fate and the infinite world, the principles of light and darkness, eternity and frailty, man and nature.

The stormy sky is beautifully written, torn clouds with dull yellow gaps. Lead clouds hang heavily over the earth. The feeling of heaviness is such that it seems that they will not allow the birds to fly, they will crush their wings, and therefore not a single bird flies over the endless expanse of water. The lake looks gloomy and hostile. Only the howl of the wind breaks the silence. It is worth looking at the broken branches of the cemetery trees - and the feeling of the wind becomes almost physical. On a steep bank, the artist depicted a small wooden church, next to which are abandoned graves with lopsided crosses. It must be that not only children, but also the grandchildren of those who found their last shelter and rest here have long been gone. This is a place of eternal rest. Although, in the church window a light is glimmering. Yes, on an island in the middle of the lake you can distinguish haystacks. People live and work as they did many centuries ago, but neither the lamp in the church window, nor the traces of human activity, can withstand the greatness of nature. Levitan is a realist. living life nature and man for him remains the highest reality.

gold autumn

1895 . GTG

Classic Levitan. Primary school students are already familiar with this golden grove and blue river from textbooks. The picture is bright and highly decorative. "Ooh charm!" Pushkin once exclaimed. There are several such fabulous days in our Russian autumn, when the trees seem to be covered with precious stones instead of leaves, and gold lies, burns, shimmers underfoot. Elegant trees stand and do not move, even the restless wind folds its wings these days and does not play in golden crowns. This golden decoration of nature is perceived as a farewell flowering on the eve of a harsh winter. And so from year to year, from century to century. The birch trees on Levitan's canvas painfully resemble the old frescoes of the Yaroslavl and Rostov churches of the 17th century.

At the same time, this is also the time of the beginning of the withering of nature. The water in the transparent blue river is cold. The grass withered. The air seems cold. But this picture of Levitan cannot be called sad. This is one of the bright and joyful works of the great landscape painter. It does not lead the viewer to dreary thoughts about the impending dull time.

Lake. (Rus)

1899 - 1900 GRM

Levitan's swan song. The terminally ill artist worked a lot and with inspiration on this large picture. It was conceived under the impression of Pushkin's poem "The Last Cloud of the Scattered Storm". Levitan traveled more than once to study sketches in the Tver province, where the painting “Above Eternal Peace” was painted. Although in Levitan's "Lake" it sounds more like a major music of nature. It gives the impression of a light, festive sound. You can say so, the chime of the sky with snow-white clouds and a wonderful abundance of water. Reeds grow green near the shore of the lake. Villages with white bell towers of temples can be seen in the distance. It is a pity that this picture, ten years after the death of the artist, darkened, lost its original brightness. But even in this state, she makes a strong impression. Two versions of it have survived. The first is in the Tretyakov Gallery, the second in the Russian Museum.

Many contemporaries testify to the extraordinary diligence of Levitan. In about 24 years, he created about a thousand paintings and sketches, and this despite the fact that the artist worked on his canvases for a long time, changing and supplementing something, or even completely rewriting. His paintings were exhibited not only in Russia, but also abroad, including at exhibitions of the Munich Art Society and world exhibition in Paris in 1898. Now Levitan's paintings can be seen in various museums in our country.

Levitan's life ended prematurely and tragically in July 1900, from an insidious heart disease. Not having lived a month before his fortieth birthday, he remained an artist of the era of classical Russian realism. He was not lucky to become a participant in the turbulent and tragic events of the early 20th century. However, the fate of Isaac Ilyich is inextricably linked with the fate of his native fields and forests, the Volga River, and the future of our land and culture is closely connected with the spirit of the great landscape painter.