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Isaac Levitan
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Isaac Levitan was one of the greatest landscape painters of the nineteenth century not only in Russian, but in European art as well. He created works of undying artistic merit. His art is for all time and for all people because it absorbed into itself the woes, the joys and the social realities of its age, because it converted that which men lived by into sublime works of art and translated the author’s emotions into lyrical images of his native land. At the end of the nineteenth century the landscape was one of the foremost genres in Russian painting. It was this influence that shaped Levitan’s art, an art fully and by right symbolic of the finest achievements of Russian landscape painting.
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Isaac Levitan - Alexei Fiodorov-Davydov
Author: Alexei Fiodorov-Davydov
Layout:
Baseline Co. Ltd,
Vietnam
© Parkstone Press International, New York, USA
© Confidential Concepts, worldwide, USA
© Image-Bar www.image-bar.com
All rights reserved.
No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers, artists, heirs or estates. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-64461-879-0
Alexei Fiodorov-Davydov
ISAAC LEVITAN
Contents
HIS LIFE
LEVITAN AND HIS TIME
NOTES
LIST OF ILLUSTRATIONS
A
Above Eternal Rest, 1893-1894
After the Rain, Plyos, 1889
The Apiary, 1885
At the edge of the Mediterranean, 1890
At the Park, 1880
At the seaside. Crimea, 1886
At the water’s edge, early 1890s
Autumn day, Sokolniki, 1879
Autumn landscape with a church, 1890s
Autumn landscape with hunter, 1880
Autumn, 1896
B
Before the Thunderstorm, 1879
Before the Thunderstorm, 1889-1900
Birch Grove, 1885-1889
Boats, The Volga, 1889
C
Canal at Venice, (study), 1890
Cloudy Day. Stubble, 1890s
Cornflowers, 1894
Crimean Landscape, 1886
D
Deep Waters, 1892
Dusk. Moon, 1899
E
Early Spring, 1898
Evening Bells, 1892
Evening on the Volga, 1888
Evening, Boats on the Bank, late 1880s
Evening. Phyos the Golden, 1889
Evening. Train moving away, 1890s
F
Ferns in a forest, 1895
Field after Harvest
First greenery. May, (study), 1883
First greenery. May, 1888
Fog. Autumn, 1899
Forest. Sunny day, 1883-1884
Fresh Wind, The Volga, 1895
G
Golden autumn. Hamlet, 1889
Gray Day, 1895
The Great Road Avenue of Birches, late 1897
H
The Haymaking, 1900
Haystacks. Twilight, 1899
High Waters, 1885
Horse-Drawn Sled in the Winter, 1860-1900
I
Illumination of the Kremlin, 1896
In the Holy Wood (Snegurocbka), 1885
In the Wild North, 1891
The Istra late afternoon, 1885
L
Lake Como, 1894
Lake. Barns on the edge of a wood (study), 1898-1899
The Lake. Rus, 1899-1900
Landscape with a farm
Landscape with a River, undated
Last days of Autumn, 1894-1898
The last rays of the sun, 1899
Last Snow (study), 1895
Late Autumn, 1884-1888
Levitan. Late 1890s
M
March, 1895
Marsh at evening, 1882
May. The First Green (sketch), 1883
Meadow on the edge of a wood, 1898
Moonlit Night. Village, 1897
Mountain range, Mont Blanc (study)
Mountains. The Crimea, 1886
N / O
Near Bordiguera. Northern Italy, 1890
On the river Volga, 1888
Overgrown pond with grass, 1887
Overgrown pond, 1887
P
Path in the forest, 1881
Path, 1899
Q / R
Quiet Abode, 1890
Rainstorn, 1889
Ravine, 1898
S
Savinskaya Sloboda, 1884
Self-portrait, undated
Sheaves and a Village Beyond the River, 1881
Sheaves and a Village, 1881
The Silent Monestary, 1890
Snowbound Garden, 1880s
The Soura seen from the high bank, 1887
Spring Flood (sketch), c. 1897
Spring Flood, 1897
Spring in the forest, 1882
Spring time in italy, 1890
Stillness, 1898
Stormy Day, 1897
Summer evening. Fence, 1900
Sunny autumn day, 1897
Sunny Day, 1876-1877
Sunny day, 1898
Sunny day. Village, 1898
T
Trail in the forest. Ferns, circa 1895
Twilight, 1900
Twilight. Moon, 1899
V
Village Savvinskaya near Zvenigorod, 1884
The Vladimirka Road, 1892
Levitan. Late 1890s. Photography.
HIS LIFE
Isaak Levitan was one of the greatest landscape painters of the nineteenth century not only in Russian but in European art as well. He created works of undying artistic merit. His art is for all time and for all people because it absorbed into itself the woes, the joys and the social realities of its age because it converted that which men lived by into sublime works of art and translated the author’s emotions into lyrical images of his native land. At the end of the nineteenth century, the landscape was one of the foremost genres in Russian painting. It was this influence that shaped Levitan’s art, an art fully and by right symbolic of the finest achievements of Russian landscape painting.
Few materials pertaining to Levitan’s biography have survived. His personal archives (letters and probably documents too) were destroyed on his orders by his brother Adolf shortly before the artist’s death. Nonetheless, in broad outline, we know Levitan’s biography well enough. It is quite typical for an artist hailing from the lower-middle class (the raznochintsy) who paid his way through art school with copper coins
and who achieved success and recognition on the strength of his talent alone but at the price of dire privation and gruelling toil.
Isaak Ilyich Levitan was born on August 30 (18 Old Style), 1860, in the little town of Kybartai (now Vilkaviskis District, Lithuanian SSR). His father was quite an educated man for his time who not only graduated from a rabbinical seminary but picked up a degree of secular education on his own as well, an education which, incidentally, included the mastery of German and French. This provided him with a living in Kovno (now Kaunas, Lithuanian SSR) where he gave private lessons and later worked as an interpreter for a French construction company then building a railway bridge in the vicinity.
At the beginning of the 1870s Ilya Levitan desirous, evidently, of finding more fertile fields for his abilities, moved with his family to Moscow. The large family (Isaak had an elder brother, Adolf, and two sisters) led a hand-to-mouth existence. For the young Levitan conditions became almost unbearable when his mother died in 1875 and his father two years later. The Moscow School of Painting, Sculpture and Architecture which Levitan entered in 1873 even waived his tuition because of extreme poverty
and in recognition of his singular success in art
. Levitan was homeless in Moscow, sleeping alternately in the homes of relatives or friends and sometimes even spending the night in the empty classrooms of the School. Now and then the School’s night watchman took pity on the youth and let him into his cubicle for the night; another watchman, who sold breakfasts on the side, would provide the lad with up to five kopecks’ worth
of victuals on credit. Levitan’s good showing in the academic year of 1874-75 induced the School’s Board of Teachers to reward him with a box of paints and brushes
. By that time the fledgeling artist was beginning to show a preference for landscape painting, and in the autumn of 1876, Alexei Savrasov took Levitan into his studio. In March 1877 two of Levitan’s canvases — Evening and Sunny Day. Spring — were displayed in the students’ section of the 5th Moscow Exhibition of the Society for Circulating Art Exhibitions, the largest and most influential creative association of realist artists in the country, active between 1870 and 1923 (also known as the Itinerants’ Society). Autumn Day. The Sokolniki Park, Levitan’s entry for his own School’s 2nd Students’ Exhibition of 1879-80, was purchased by Pavel Tretyakov, the founder of the Tretyakov Gallery in Moscow, which meant that the artist was beginning to achieve public recognition.
Sunny Day, 1876-1877. Oil on canvas,
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