We are searching data for your request:
Upon completion, a link will appear to access the found materials.
Golden Autumn - Isaac Ilyich Levitan. 82 x 126 cm.
The bright, ocher color, interspersed with red and orange, pouring from the canvas, is so eloquent that even without looking at the signature by the frame, one can easily guess - before us is “Golden Autumn” by Isaac Levitan.
The picture was first presented at the 24th exhibition of the Wanderers, and its meticulous work preceded it. First, sketches from nature were created - in the autumn of 1895 the author lived in the estate of Gorka in the Tver province, there he was looking for stories, and was finished in Moscow.
The mood of work immediately attracts attention. The painter from elegiac, very subtle and sincere works suddenly switched to a magnificent, bright, solemn landscape. As usual, all significant events in the life of the creator will certainly find their response in his works, and Levitan was no exception - his personal life was seething and full of passions during the writing of Golden Autumn.
Being in close relations with Sofia Kuvshinnikova, Levitan fell in love with Anna Turchaninova. She was resting in a neighboring estate. A tumultuous romance developed, reminiscent of literally book passions. Kuvshinnikova tried to commit suicide (thank God, the eccentric person didn’t succeed), Anton Chekhov openly condemned her friend’s passionate passion, and his sister Maria (whom the painter had also been unrequited in love at one time), and Levitan himself lived in anticipation of happiness. Chekhov also spoke out negatively about the artist’s works created during this exciting period, scolding for excessive “bravura” and decorativeness. The same comments applied to the “Golden Autumn” - where did the subtle lyricist, the sensitive artist, who paints quiet spiritual landscapes, go?
Today, art historians attribute the presented painting of Levitan to the so-called major series, which in addition to the "Golden Autumn" includes works "Spring. Big Water ”,“ March ”and others. But ordinary viewers like it for its emotionality, expressiveness and bright solemn colors.
At the time of writing the sketches in Gorka, the master had all the conditions created - on the lake in the estate a workshop was built especially for Levitan, already in two floors. The landscape depicted in the picture was only half a kilometer from the personal workshop - this is the Syezh River near the town of Ostrovno.
A narrow river with high enough steep banks originates at the lower right corner of the canvas to divert the viewer's eyes directly to the horizon, through the autumn forest, to barely noticeable fields and village houses. The sky is reflected in the dark, calm waters, but at the same time it is not calm and light in the autumn (an uncharacteristic element for Levitan).
The point of view was chosen very well, as it allows you to build a wide panoramic composition with many elements. If we analyze the picture in detail, it can be noted that the details on the canvas are unevenly distributed - the left side is more loaded, however, this does not lead to asymmetric sensations, since Levitan correctly “arranged” and grouped all the elements of the landscape.
As already noted, the chosen palette in this picture is not characteristic of the painter - colors are too bright and saturated, but moving deeper into the picture, you can notice how the color becomes more calm and familiar.
Not everyone shared the skepticism of Anton Pavlovich Chekhov about this work. In general, the picture received a lot of the most positive and admired reviews. The splendor of the landscape, emotional fullness, golden colorfulness were noted. Also, art historians are very fond of considering this work as an example of the influence of European impressionism on Levitan's work.
A year after writing, “Golden Autumn” was bought by Pavel Tretyakov directly from a traveling exhibition. The new owner suddenly had problems with the execution of the transaction, and the picture wandered for a long time at the exhibitions of the Wanderers, waiting for Pavel Mikhailovich to pick it up. But in November of the same year, exhibiting in Kharkov, she suffered misfortune - the heavy copper visor of the heater, falling from the wall, pierced the canvas through. Hastily, restoration work was carried out, and through the efforts of the restorer Dmitry Artsybashev, the painting regained its original appearance. Although Levitan himself was very worried whether the promised deal would take place in connection with this sad incident, but Tretyakov did not refuse the “Golden Autumn” and immediately after the purchase gave it as a gift to his gallery, where the picture is to this day.