Overview of the painting “Golden Autumn” – Isaac Ilyich Levitan
- Posted by Isaac Ilyich Levitan
- Museum: Tretyakov Gallery
- Year: 1895
Overview of the painting :
Golden Autumn – Isaac Ilyich Levitan. 1895. Oil on canvas. 82 x 126 cm.
Bright, fucking color, interspersed with red and orange, pouring from the canvas, so eloquent that without even looking at the signature of the frame, you can easily guess – before us is the Golden Autumn by Isaac Levitan.
The painting was first presented at the 24th exhibition of mobile workers, and was preceded by scrupulous work. At first, sketches from nature were created – the author lived in the Gorka estate of the Tverskoye province in the fall of 1895, and there he was looking for stories, and finished already in Moscow.
The mood immediately attracts attention. The painter from the elegical, very subtle and mental works suddenly moved to a magnificent, bright, solemn landscape. As usual, all significant events in the life of the creator certainly find their response in his works, and Levitan was no exception – his personal life was seething and was full of passions during the writing of “Golden Autumn.”.
Being in close relationship with Sofia Kuvshinnikova, Levitan fell in love with Anna Turchaninov. She was resting in the next manor. A stormy romance has developed, resembling direct book passions. Kuvshinnikova tried to commit suicide (Thank God, the eccentric person failed), the ardent hobbies of a friend openly condemned Anton Chekhov, and his sister Maria (in which the painter was also in love with unrequitedly at one time), and Levitan himself lived in anticipation of happiness. Chekhov also spoke negatively about the artist’s works created during this exciting period, scolding for excessive “bravurity” and decorativeness. The same comments applied to the Golden Autumn – where the thin lyric, a sensitive artist, drawing the quiet landscapes of the soul, went?
Today, art historians attribute the presented picture of Levitan to the so-called major series, which, in addition to the Golden Autumn, includes the work of Spring. Great water ”,“ March ”and others. And ordinary viewers like her for emotionality, expressiveness and bright solemn colors.
During the writing of sketches in Gorka, the master was created all the conditions – on the lake in the manor office, a workshop was built specifically for Levitan, as well as on two floors. The landscape depicted in the picture was only half a kilometer from a personal workshop – this is the river Shine near the town of Ostrovno.
A narrow river with sufficiently high steep banks originates at the lower right corner of the canvas to look the viewer directly to the horizon, through the autumn forest to barely noticeable fields and village houses. The sky is reflected in dark, calm waters, but at the same time it is not autumn calm and light (an uncharacteristic element for Levitan).
The point of view is chosen very well, since it allows you to build a wide panoramic composition with many elements. If you 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 “disposed” and grouped all the elements of the landscape.
As already noted, the selected palette in this picture is not characteristic of the painter – too bright and saturated colors, but moving deep into the picture, you can see 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 content, golden beauty were noted. Also, art critics are very fond of this work as an example of the influence of European impressionism on the work of Levitan.
A year after the writing, “Golden Autumn” was bought by Pavel Tretyakov directly from a traveling exhibition. The new owner suddenly had problems with the transaction, and the picture wandered for a long time at the exhibitions of the mobile workers, waiting for Pavel Mikhailovich to pick it up. But in November of the same year, exhibiting in Kharkov, she suffered misfortune – a heavy copper peel of the calorifer, falling from the wall, pierced the canvas through. Restoration work was hastily carried out, and with the efforts of the restorer Dmitry Artsybashev, the picture again acquired its pristine appearance. Although Levitan himself was very worried – whether the promised deal would take place in connection with this sad incident, Tretyakov did not refuse the Golden Autumn and immediately after the purchase donated it to his gallery, where the picture is still to this day.