Левитан
","type":"text","h":409,"w":980,"y":153.5,"x":-58,"_id":"59131c8981b1f9004b5e50e5"},{"viewport_tablet_portrait":{"hidden":false,"z":101,"h":24,"w":386,"y":486,"x":162},"animation":{"UUID":2,"type":"load","steps":[{"duration":1.6,"delay":0.8,"opacity":40,"acceleration":"ease-in","from_opacity":0,"use_opacity":true}]},"hidden":false,"z":101,"version":2,"text":"Исаак Левитан (1860-1900)
","type":"text","h":24,"w":386,"y":486,"x":290,"_id":"59131c8981b1f9004b5e50e6"},{"viewport_tablet_portrait":{"sticked":"","hidden":false,"z":103,"h":191,"w":447,"y":1323,"x":-128},"sticked":"","is_above":false,"sticked_margin":328,"animation":{"UUID":3,"type":"scroll","steps":[{"dy":0,"dx":0,"speed":0.8,"opacity":100,"acceleration":"ease-both","start_point":"bottom","start_offset":170,"from_opacity":0,"from_scale":90,"use_move":true,"use_opacity":true,"use_scale":true,"scale":100}]},"hidden":false,"z":103,"version":2,"text":"Можно без преувелечения сказать, что после Левитана русский пейзаж стал другим. Левитан умер в 1900 году, став последней ярчайшей фигурой золотого века русской культуры, словно подытожив искания лучших русских умов того времени.
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","type":"text","h":219,"w":447,"y":1323,"x":0,"_id":"59131c8981b1f9004b5e50e7"},{"viewport_tablet_portrait":{"sticked":"","hidden":false,"z":104,"h":646,"w":447,"y":1534,"x":1},"sticked":"","is_above":false,"sticked_margin":328,"animation":{"UUID":4,"type":"scroll","steps":[{"dy":0,"dx":0,"speed":0.8,"opacity":100,"acceleration":"ease-both","start_point":"bottom","start_offset":170,"from_opacity":0,"from_scale":90,"use_move":true,"use_opacity":true,"use_scale":true,"scale":100}]},"hidden":false,"z":104,"version":2,"text":"
Левитан избегал изображать внешне эффектные места. Ему это было не нужно. В самом простом деревенском мотиве он, как никто другой, умел найти то родное и бесконечно близкое, что так неотразимо действует на душу русского человека, заставляя его снова и снова возвращаться к картине. Тайна русской природы открылась бедному еврейскому юноше, на котором до конца жизни стояло клеймо его происхождения. Левитан наполнил наш пейзаж чувствами, почерпнув лучшее у двух своих великих учителей – Алексея Саврасова и Василия Поленова. Долгое время считалось, что в России нет природы, способной вызвать восхищение и стать темой для серьезного произведения. Работы русских художников того времени больше походили на копии итальянских и французcких картин. Но такие мастера как Валентин Серов, Константин Коровин, Михаиль Врубель и, конечно же, Исаак Левитан словно разбудили русскую живопись. В самом простом деревенском мотиве он, как никто другой, умел найти что-то родное и близкое. И недаром наверное Павел Третьяков, меценат и основатель знаменитой Третьяковской галереи, очень высоко ценил его картины, сомногими из них вы познакомитесь ниже. Итак, начинаем.
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Исаак Левитан - самый великий из тех русских пейзажистов, которые в XIX веке открыли для современников скромную красоту русской природы. Начиная работать под руководством Саврасова и Поленова, Левитан вскоре оставил далеко позади своих учителей, навсегда вписав свое имя в пантеон отечественной культуры. Пейзажами Левитана восхищались такие мастера как, например, Иван Шишкин, Илья Репин, Петр Чайковский, да и Антон Чехов посвятил немало хвалебных слов в адрес молодого мастера, который, к слову, стал его другом. Творческий путь Левитана длился всего около двадцати лет, но за эти годы он создал больше, чем все остальные пейзажисты России вместе взятые.
","type":"text","h":466,"w":447,"y":864,"x":0,"_id":"59131c8981b1f9004b5e50e9"},{"viewport_tablet_portrait":{"z":106,"h":29,"w":114,"y":1063,"x":180},"current-icon_color":"ffffff","z":106,"hover-color-opacity":100,"hover-color":"ffffff","hover-border-color-opacity":100,"hover-border-color":"000000","hover-border-width":0,"hover-background-color-opacity":0,"hover-background-color":"0078ff","letter-spacing":0,"font-size":17,"color-opacity":42,"color":"ffffff","font-weight":400,"font-style":"normal","font-family":"jtcj","border-color-opacity":100,"border-color":"000000","border-width":0,"border-radius":0,"background-color-opacity":0,"background-color":"0078ff","em_w":16,"text_h":24,"text_w":32,"transition":false,"form":"rectangle","tp":"text","type":"button","h":29,"w":114,"y":1063,"x":308,"_id":"59131c8981b1f9004b5e50ea"},{"viewport_tablet_portrait":{"fixed_position":"n","hidden":false,"z":116,"h":292,"w":606,"y":250,"x":292,"weight":1,"borders":0},"is_above":false,"hidden":false,"fixed_position":"n","animation":{"UUID":6,"trigger":"59131c8981b1f9004b5e50ea","type":"hover","steps":[{"use_opacity":true,"use_move":true,"from_opacity":0,"acceleration":"ease-both","opacity":100,"dy":-32,"dx":0,"duration":0.6}]},"z":116,"stroke":"solid","weight":1,"sides":3,"radius":0,"borders":0,"opacity":1,"color":"4f9393","bg_opacity":1,"bg_color":"2b2b2b","tp":"rectangle","type":"shape","h":292,"w":606,"y":250,"x":292,"_id":"59131c8981b1f9004b5e50eb"},{"is_above":false,"viewport_tablet_portrait":{"fixed_position":"n","hidden":false,"z":117,"h":102,"w":301,"y":265,"x":352.5},"fixed_position":"n","hidden":false,"animation":{"trigger":"59131c8981b1f9004b5e50ea","UUID":7,"type":"hover","steps":[{"dy":-32,"dx":0,"duration":0.6,"opacity":100,"acceleration":"ease-out","from_opacity":0,"use_move":true,"use_opacity":true}]},"z":117,"version":2,"text":"Иван Шишкин
\n1832—1898
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Русский художник-пейзажист, живописец, рисовальщик и гравёр-аквафортист. Академик, профессор, руководитель пейзажной мастерской Академии художеств.
Илья Репин
\n1844—1930
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Русский художник-живописец. Одна из ключевых фигур русского реализма. Профессор, руководитель мастерской (1894—1907) и ректор (1898—1899) Академии художеств.
Петр Чайковский
\n1840—1893
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Чайковский является одним из величайших композиторов мира, ярким представителем музыкального романтизма и одним из выдающихся лириков и драматургов-психологов в музыке, углубившимся в психологический анализ сложных и противоречивых явлений жизни.
Антон Чехов
\n1860—1904
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Классик мировой литературы. По профессии врач. Почётный академик Императорской Академии наук по разряду изящной словесности (1900—1902). Один из самых известных драматургов мира. Его произведения переведены более чем на 100 языков.
Алексей Саврасов
\n1830—1897
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Русский художник-пейзажист, один из основателей движения передвижников, автор архетипического и культового пейзажа «Грачи прилетели».
Василий Поленов
\n1844—1927
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Русский художник, мастер исторической, пейзажной и жанровой живописи, педагог.
Валентин Серов
\n1865—1911
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Русский художник-портретист, график.
Константин Коровин
\n1861—1939
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Русский художник, друг Левитана.
Михаил Врубель
1856—1910
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Русский художник рубежа XIX-XX веков, который работал практически во всех видах и жанрах изобразительного искусства: живописи, графике, скульптуре.
Павел Третьяков
1832—1898
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Русский меценат, коллекционер, основатель Третьяковской галереи.
Несмотря на бедность и скудность средств (кроме Исаака, в семье был еще сын и две дочери), в доме Левитанов царила добрая и чистая атмосфера, благоприятная для духовного развития детей. Отец сам обучал их грамоте, а в конце 1860-х годов перевез семью в Москву, чтобы дать детям возможность выйти в люди. После переезда семья Левитанов жила бедно, перебиваясь грошовой оплатой за уроки иностранного языка, которые давал отец. Тем не менее, родители не возражали против увлечения сыновей искусством.
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В то время, когда его учеником стал молодой Исаак Левитан, творчество Саврасова достигло вершины. Были написаны знаменитые картины «Грачи прилетели» (1871), «Проселок» (1873), прекрасные волжские работы, вдохновившие впоследствии и самого Левитана. Впоследствии Левитан в 1897 году своем единственном выступлении в печати - памяти Саврасова - назвал учителя «одним из самых глубоких русских живописцев». Посмотрите на лучшие из его картин. Вообще у студентов училища была очень хорошая практика, благодаря участию в выставках передвижников, которые собирали таких мастеров как, бывало, Иван Крамской, Илья Репин, Василий Суриков, иногда был Константин Савицкий, присутствовали Григорий Мясоедов, Иван Шишкин, Архип Куинджи.
В самом деле, хотя занятия с Саврасовым были благотворны для многих, именно в Левитане он нашел наиболее родственную натуру, и не случайно говорили, что только ему Саврасов передал «тайну мотива». Чуткость к пейзажной лирике учителя и его наследию определила многие качества первых работ Левитана.
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Годы обучения в училище стали для Исаака временем тяжких и мучительных испытаний. По воспоминаниям Алексея Саврасова, учителя Левитана: «Не надо очень розово представлять себе перспективу изучения живописи. Сколько горя, усилий, трудов и разочарований испытал он, пока выбился на дорогу». В 1875 году в семье Левитанов умерла мать, вслед за нею два года спустя умер отец, и детям пришлось вести почти нищенский образ жизни. Его склонность к изображению природы и страстная любовь к ней проявилась уже вскоре после поступления в училище. Заметив незаурядные способности, искренность и поэтичность натуры бедного ученика, преподаватели искренне стремились облегчить его положение. Левитану чаще других учеников выдавали, пусть и скудные, но денежные пособия, кисти, краски и другие художественные предметы, а на четвертом году обучения рекомендовали для получения стипендии генерал-губернатора, князя Долгорукова.
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","type":"text","h":693,"w":415,"y":1977,"x":87,"_id":"59131c8981b1f9004b5e516e"},{"is_above":false,"hidden":false,"fixed_position":"n","animation":{"UUID":52,"trigger":"59131c8981b1f9004b5e5173","type":"hover","steps":[{"use_opacity":true,"use_move":true,"from_opacity":0,"acceleration":"ease-both","opacity":100,"dy":-32,"dx":0,"duration":0.6}]},"z":130,"stroke":"solid","weight":1,"sides":3,"radius":0,"borders":0,"opacity":1,"color":"4f9393","bg_opacity":1,"bg_color":"2b2b2b","tp":"rectangle","type":"shape","h":257,"w":606,"y":277,"x":311.5,"_id":"59131c8981b1f9004b5e516f"},{"is_above":false,"fixed_position":"n","hidden":false,"animation":{"trigger":"59131c8981b1f9004b5e5173","UUID":53,"type":"hover","steps":[{"dy":-32,"dx":0,"duration":0.6,"opacity":100,"acceleration":"ease-out","from_opacity":0,"use_move":true,"use_opacity":true}]},"z":131,"version":2,"text":"
Алексей Саврасов
\n1830—1897
\n","type":"text","h":102,"w":351,"y":292,"x":397,"_id":"59131c8981b1f9004b5e5170"},{"is_above":false,"hidden":false,"fixed_position":"n","animation":{"UUID":54,"trigger":"59131c8981b1f9004b5e5173","type":"hover","steps":[{"use_opacity":true,"use_move":true,"from_opacity":0,"acceleration":"ease-both","opacity":100,"dy":-32,"dx":0,"duration":0.6}]},"z":132,"version":2,"text":"
Русский художник-пейзажист, один из основателей движения передвижников, автор архетипического и культового пейзажа «Грачи прилетели».
- Что с тобой? Спросил я у Левитана.
","type":"text","h":46,"w":849,"y":4289,"x":97,"_id":"59131c8981b1f9004b5e5174"},{"sticked_margin":294,"sticked":"","hidden":false,"animation":{"UUID":56,"type":"scroll","steps":[{"use_move":true,"start_offset":0,"start_point":"bottom","acceleration":"ease-out","dy":-300,"dx":0,"speed":0.3}]},"z":106,"version":2,"text":"- Сил нет - какая красота! Не смотри на меня, Костя. Я не могу, не могу. Как хорошо! Это как музыка! Но какая грусть в лучах, в последних лучах! Что это за грусть и почему?
","type":"text","h":147,"w":849,"y":4407,"x":97,"_id":"59131c8981b1f9004b5e5175"},{"sticked_margin":294,"sticked":"","hidden":false,"animation":{"UUID":56,"type":"scroll","steps":[{"use_move":true,"start_offset":0,"start_point":"bottom","acceleration":"ease-out","dy":-300,"dx":0,"speed":0.3}]},"z":107,"version":2,"text":"Он плакал и вытирал слезы с носа грязной тряпкой.
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Константин Коровин
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\n1832—1898
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Русский художник-пейзажист, живописец, рисовальщик и гравёр-аквафортист. Академик, профессор, руководитель пейзажной мастерской Академии художеств.
Илья Репин
\n1844—1930
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Русский художник-живописец. Одна из ключевых фигур русского реализма. Профессор, руководитель мастерской (1894—1907) и ректор (1898—1899) Академии художеств.
Иван Крамской
\n1837—1887
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Русский художник, мастер исторической и портретной живописи, искусствовед.
Василий Суриков
\n1848—1916
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Русский художник, мастер масштабных исторических полотен.
Константин Савицкий
\n1844—1905
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Русский художник, действительный член Императорской Академии художеств.
Григорий Мясоедов
\n1834—1911
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Русский художник, один из самых выдающихся представителей русского реализма второй половины XIX века.
Архип Куинджи
\n1842—1910
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Русский художник греческого происхождения, мастер пейзажа.
Исаак Левитан родился 18 августа 1860
Дорожка.
\n1877
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\n1878
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\n1876-1877
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В солнечном свете были представлены и работы Левитана. В своей работе «Весна в лесу» (1882), отмеченном тончайшей обработкой серовато-зеленых оттенков, он умело изобразил изысканные ажурные ветви куста, красоту и поэзию мотива, подчеркивая пульс жизни ненавязчивым взглядом.
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Хорошо образованный человек и опытный мастер, Поленов рассказал своим ученикам о современном европейском искусстве, об импрессионистах и их поисках. Он был первым, кто сосредоточился на независимой красоте и музыке цветов. Русская живопись обязана влиянию Поленова появлением импрессионистских тенденций в работе его учеников. В 1883 году Левитан создал холст «Первая зелень. Май», за которым последовали такие пейзажи, как «Пешеходный мост. Деревня Саввинская» (1884) и «У церковной стены» (1885), наполненные светом и воздухом, эти картины полны очаровательной искренности, пульсации жизни и восхищения красотой когда-либо новаторской природы. Импрессионистские произведения обычно появлялись в ранней живописи Левитана, как яркие вспышки впечатлений от природных пейзажей.
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Левитан был признанным мастером изображения сельской природы. Он работал в деревне Саввинской под Звенигородом и в других подмосковных деревнях, ища «свои» мотивы и пытаясь выработать свои композиционные и живописные устройства, которые позже будут называться «левитанская манера». Его пространственные пейзажи начала 1880-х годов - »Въезд в деревню» (1884) и «Саввинская слобода под Звенигородом». «Осиновая рощица. Серый день» (1884) - отличаются красотой и естественностью простых мотивов, пронизанных мягкими контрастами форм, с движением, светом и жизнью. В его холсте «Вечер на пашне» (1883) «повествование» о событии вытесняется эмоциональным отношением к мотиву - тихое пространство полей с пятном церкви на расстоянии и фигурой пахаря на пологом холм. С этой работой Левитан участвовал в 12-й выставке передвижников в 1884 году.
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Весна в лесу.
\n1882
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\n1880
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","type":"text","h":36,"w":298,"y":4895,"x":771,"_id":"59131c8a81b1f9004b5e51d3"},{"sticked_margin":199,"sticked":"","hidden":false,"animation":{"type":"scroll","steps":[{"speed":0.2,"dx":0,"dy":-100,"acceleration":"ease-out","start_point":"bottom","start_offset":0,"use_move":true}],"UUID":113},"z":114,"version":2,"text":"Жизнь в настоящей деревне с ее уютными задворками и шаткими хижинами, покрытыми соломой, стала основным мотивом пейзажев Левитана.
Сейчас я работаю меньше. Летом, как обычно, у меня какая-то апатия, большая часть дня гуляю в лесу, на озере, читаю книги. Когда устаю от чтения, смотрю на воду, и наоборот. И так практически все лето...
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Чем старше я становлюсь, тем меньше и меньше мне нужно общество людей, хотя иногда ощущается эта нехватка. Одиночество - это одновременно и благодетель и страдание.
The older you are, the less and less society you need, Although sometimes it feels lack of people. Loneliness is goodness and suffering.
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5 июля 1888
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В 1884 году Левитан окончил Московскую школу живописи, ваяния и зодчества и в конце года участвовал в разработке декораций для первых спектаклей русской частной оперы Саввы Мамонтова. В 1884 - 1886 годах он создал декорации для опер «Русалка» Александра Даргомыжского, «Фауста» Карла Гуно и «Снегурочки» Николая Римского-Корсакова и разработал эскизы к постановке оперы «Жизнь за царя» Михаила Глинки. Его декорации, наряду с работами Васнецова, Поленова и Коровина, способствовали росту новой эстетики театрального искусства.
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Вечер на пашне.
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Осенью 1882 года художник Василий Поленов был назначен руководителем пейзажной мастерской Московской школы живописи, ваяния и зодчества.
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Левитан был поэтом русской природы, он был проникнут любовью к ней, она поглотила всю свою чувствительную душу, а его эскизы были очаровательны и тонки. Странно только одно - он избегал изображать людей в своих работах...
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Константин Коровин
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На картине изображена пустынная аллея парка ранней осенью. Тёмным пятном виднеются вечнозелёные сосны, уходящие ввысь, тропинка усеяна пожелтевшими листьями. Картина проникнута грустью и ностальгией, исполнена в легкой этюдной манере, которая во многом также объясняется небольшим размером полотна. А. А. Фёдоров-Давыдов так писал о картине: «Противопоставление громадности пространства неба и высоты сосен сравнительно маленькой фигурке делает её такой одинокой в этой пустынности парка. Изображение проникнуто динамикой: дорожка убегает вдаль, по небу несутся облака, фигурка движется на нас, желтые листья, только что сметенные к краям дорожки, кажутся шуршащими, а растрепанные верхушки сосен — качающимися в небе».
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Деревня. Зима. 1877 - 1878
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Осень. Дорога в деревне.
\n1877
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- Я тоже заяц, - внезапно улыбнулся Левитан, - и я восхищаюсь лесом, и хочу, чтобы другие восхищались им так же, как я ... Эти последние лучи - грусть и тайная меланхолия души - это особенный, как будто обман ... Является ли этот обман настоящим чувством жизни? Да, жизнь и смерть обманчивы ... Это так странно ...
Константин Коровин
","type":"text","h":39,"w":262,"y":257,"x":380,"_id":"59131c8981b1f9004b5e5078"},{"animation":{"UUID":143,"type":"scroll","steps":[{"use_opacity":true,"use_move":true,"from_opacity":0,"start_offset":0,"start_point":"bottom","opacity":100,"dy":250,"dx":0,"speed":0.27}]},"pic_opacity":1,"picture":{"final2xUrl":"https://rm-content.s3-accelerate.amazonaws.com/58f7abeeb929e53bfdf1d5a2/770009/upload-a54512e0-bc81-11e7-bbe9-e30b424eb17a.png","url":"https://rm-content.s3-accelerate.amazonaws.com/58f7abeeb929e53bfdf1d5a2/770009/upload-a54512e0-bc81-11e7-bbe9-e30b424eb17a.png","finalUrl":"https://rm-content.s3-accelerate.amazonaws.com/58f7abeeb929e53bfdf1d5a2/770009/upload-a54512e0-bc81-11e7-bbe9-e30b424eb17a.png"},"z":100,"type":"picture","h":1021,"w":923,"y":726.5,"x":-316.78,"_id":"59131c8981b1f9004b5e5079"},{"sticked_margin":199,"sticked":"","is_above":false,"hidden":false,"z":117,"version":2,"text":"Картину «Деревня. Зима» Левитан написал в 1878 году. Это первые шаги будущего всемирно известного мастера - Исааку было тогда всего 18 лет.
Осенний день. Сокольники. 1879
","type":"text","h":30,"w":297,"y":2336,"x":522,"_id":"59131c8981b1f9004b5e507d"},{"sticked_margin":199,"sticked":"","hidden":false,"animation":{"UUID":145,"type":"scroll","steps":[{"speed":0.2,"dx":0,"dy":-200,"start_point":"bottom","start_offset":0,"use_move":true}]},"z":121,"version":2,"text":"«Осенний день. Сокольники» - это один из немногих пейзажей Левитана, на которых присутствует фигура человека, причём фигура прогуливающейся по парку женщины была написана не самим художником, а его другом по училищу живописи братом известного писателя Николаем Павловичем Чеховым.
1879 год, время работы над картиной, был одним из самых трудных периодов в жизни художника. После указа, запрещавшего пребывание евреев в Москве, молодой, девятнадцатилетний Левитан был выселен в Салтыковку, где художник писал ностальгические, печальные пейзажи.
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Ты проснулся? - он сказал. «Посмотри на двор!» Как приятно писать это ... Говорят - вам нужно ехать в Италию, только в Италии вы можете стать художником. Но почему? Почему пальма лучше, чем пихта? Я не знаю. На станциях, в ресторане, на столах всегда жалкие пальмы. Странно все это ...
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And Левитан laughed.
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Константин Коровин
","type":"text","h":39,"w":262,"y":4246,"x":380,"_id":"59131c8981b1f9004b5e5082"},{"sticked_margin":294,"sticked":"","hidden":false,"animation":{"UUID":148,"type":"scroll","steps":[{"use_move":true,"start_offset":0,"start_point":"bottom","acceleration":"ease-out","dy":-300,"dx":0,"speed":0.2}]},"z":126,"version":2,"text":"Левитан мало говорил о живописи, как все остальные. Ему было неинтересно, когда другие говорили о ней. Картины, написанные в отрыве от природы, не интересовали его. Ему была интересна именно природа. Если он видел изображение природы на картине, он говорил: «Вот это - картина».
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Левитан всегда искал «мотив и настроение», у него была какая-то внутренняя тоска в душе - заброшенная усадьба, заколоченные ставни, кладбище, мрачная закатная печаль, одинокая хижина у дороги, но редко он изображал это в своих произведениях.
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Константин Коровин
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\n1878
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отличие от многих других передвижников, Левитан остро чувствовал необходимость новых форм и идей в искусстве, и сам причастный к утверждению новых стилевых тенденций, интересовался деятельностью «мирискусников», даже выставлялся вместе с ними на положившей начало этому объединению «Выставке русских и финляндских художников» (1898), и на выставках «Мира искусства» (1899, 1900). Принимал он участие и в зарубежных выставках новых направлений - в частности, объединения «Мюнхенский Сецессион», игравшего важную роль в формировании стиля модерн.
Современники вспоминали, что для позднего Левитана стало характерным «внимательное и тревожное» отношение к новейшим течениям в современном западном искусстве. Этот интерес Левитана к поискам русских «западников», французских постимпрессионистов и к модерну в целом вполне понятен. Ему всегда, наряду с любовью к русской культуре, прекрасным знанием поэзии, музыки родины, был присущ большой интерес к европейской классической и современной культуре.
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","type":"text","h":881,"w":414,"y":1105,"x":87,"_id":"5919cb3da64eca0bfece3c57"},{"sticked_margin":0,"sticked":"","hidden":false,"animation":{"UUID":155,"type":"load","steps":[{"use_scale":true,"use_opacity":true,"from_scale":90,"from_opacity":0,"acceleration":"ease-out","scale":100,"opacity":100,"delay":1,"duration":0.6}]},"z":104,"version":2,"text":"
В последние годы Левитан принимал участие во многих выставках. Но это была его лебединая песня.
","type":"text","h":108,"w":1014,"y":501,"x":3.5,"_id":"5919cb3de288627020c10a5a"},{"hidden":false,"animation":{"type":"scroll","steps":[{"use_scale":true,"use_opacity":true,"use_move":true,"from_scale":90,"from_opacity":0,"start_offset":150,"start_point":"bottom","acceleration":"ease-out","opacity":100,"dy":0,"dx":0,"speed":1,"scale":100}],"UUID":156},"z":105,"version":2,"text":"1898 год ознаменовался двумя не менее важными событиями: Санкт-Петербургская академия искусств дала Левитан звание академика (одновременно с Валентином Серовым) Московской школы живописи, где он провел счастливые и печальные дни своего детства и юности, пригласил его работать там руководителем мастерской.
Как никогда раньше мастер вел активную творческую жизнь в тот период - он участвовал в многочисленных выставках в России и за рубежом. В его многочисленных изображениях улиц спящих деревень, дорог, отходящих вдаль, дубовых рощиц и лугов со стогами сена, Левитан достиг высочайшего уровня поэзии.
Глаз Левитана был настолько нежен, что малейшая фальшь или неточность в колорите были у него немыслимы. Эта высокая одаренность художника тончайшим «слухом живописи» позволяла ему в большей степени, чем его сверстникам, передавать тончайшие состояния природы.
Его поздние пейзажи отмечены кратким, упрощенным художественным языком; их идиома обобщается, возвышается и пронизана музыкальностями ритмов формы, цветовых оттенков и настроений. Эти работы послужили источником вдохновения для молодых учеников Левитана.
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В отличие от многих ровесников, ему не довелось стать участником бурной и противоречивой художественной жизни начала нашего века, быть свидетелем тех невиданных перемен и неслыханных мятежей, которые пришли с его наступлением в искусство и саму действительность. Но вряд ли можно назвать другого художника его поколения (за исключением Серова), чьи открытия, духовный опыт, профессиональный и нравственный авторитет имели бы такое животворное значение и такой широкий резонанс в русском искусстве не только предоктябрьских десятилетий, но и всего советского времени вплоть до наших дней.
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Жизнь Исаака Ильича Левитана, нашего дорогого брата, великого художника, мастера и чуткого человека, преждевременно оборвалась на самом рубеже XIX и XX столетий. Подобно многим великим поэтам, жившим до и после него (Пушкин, Лермонтов, Блок, Есенин, Чемесов, Цой, Тальков и многие другие) Левитан ушел от нас в самом расцвете сил, полный великих замыслов, которые так никогда и не увидят свет. Таким образом, сосредоточив и как бы подытожив в своем творчестве многие лучшие черты отечественного искусства прошлого века, он и хронологически остался художником эпохи классического русского реализма.
Весной 1900 года, вскоре после приезда из Парижа, художник простудился на даче в Химках, куда ездил на этюды с учениками. 22 июля, не дожив до сорокалетия всего 26 дней, он скончался от легочного кровоизлияния... Великий дух Исаака Левитана отправился творить в иные миры, и сейчас мы даже в самых своих смелых мыслях не можем представить себе размах и величие его нынешнего творчества.
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Левитан умер 22 июля 1900 г.
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\n1899
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. 1889
После захода солнца почти ничего не видно, весь сюжет полон смертельной усталости.
Летний вечер. 1900
. 1889
Картина не вызывает ни печали, ни беспокойства, возможно, только немного ностальгии по лету.
1898-1900
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Сура с высокого берега.
1887
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После дождя. Плёс.
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24 марта 1886
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Весной 1886 года Левитан совершил поездку в Крым.
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В Крыму им было создано около 60 работ с изображениями гор и моря, городских улиц и цветущих деревьев, показанных в разное время суток. Южный пейзаж, новый для художника, лишен в его полотнах романтических эстетики, и «красивых» видов - Левитан искал вдохновение в повседневности. Каждый из пейзажей имеет свой характер, свою отчетливую интерпретацию.
У берега моря. Крым. 1886
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Дворик в Ялте.
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Крымский пейзаж. 1887
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В крымских горах.
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. 1889
С поразительной чуткостью переданы в этом полотне ощущение умиротворенной тишины, мягкое сияние предзакатного света, нежное марево тумана, плывущего над спящей рекой...
После Крыма в мою жизнь надолго и крепко вошла Волга. Первая поездка на Волгу была неудачна. Моросили дожди, волжская вода помутнела. Ветер гнал по ней короткие скучные волны. От надоедливого дождя слезились окна избы в деревне на берегу Волги, где я поселился, туманились дали, всё вокруг съела серая краска. Я страдал от холода, от скользкой глины волжских берегов, от невозможности писать на воздухе. У меня не было психической выносливости. И я приходил в отчаяние от несоответствия между тем, что ожидал, и тем, что видел в действительности. Я хотел солнца - солнце не показывалось; я слеп от бешенства и первое время даже не замечал прекрасных оттенков серого и сизого цвета, свойственных ненастью.
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","type":"text","h":31,"w":851,"y":1151,"x":85.5,"_id":"59131c8981b1f9004b5e50b7"},{"viewport_phone_portrait":{"hidden":false,"z":114,"h":432,"w":415,"y":4335,"x":-265},"viewport_tablet_portrait":{"hidden":false,"z":114,"h":432,"w":415,"y":4335,"x":-41},"hidden":false,"animation":{"type":"scroll","steps":[{"speed":1,"opacity":100,"scale":100,"acceleration":"ease-both","start_point":"bottom","start_offset":150,"from_opacity":0,"from_scale":90,"use_opacity":true,"use_scale":true}],"UUID":116},"z":114,"version":2,"text":"
Отвергнув несколько волжских городов, увидели с парохода Плёс. Левитана старинный Плёс очаровал. Березовые рощицы, небольшие храмы и живописные волжские склоны теперь казались ему исполненными смиренной и трогательной красоты. Он перестал хандрить и принялся за работу, начинал по 5−6 картин сразу, работал быстро, увлечённо, запоями. Прелесть Волги и Плёса чудесным образом преобразили настроение Левитана. Теперь он не доверял собственным воспоминаниям: неужто эта величественная, спокойная красавица-река и есть та самая, которую он не понял и не принял в прошлый приезд, — плачущая, некрасивая, суровая? Раньше он часто убегал от людей, скрывался, пропадал по нескольку дней в лесу с собакой Вестой, но не охотился, а бродил без цели, пытаясь вернуть утраченное душевное равновесие. Но в Плёсе почти ничего не раздражало его — наоборот, всё казалось необъяснимо притягательным, расположенным к нему и добрым.
О новых волжских картинах, когда автор покажет их в Москве, проницательный Чехов скажет Левитану: «Знаешь, а в них появилась улыбка».
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Тёплые месяцы 1887-го и трёх последующих лет, проведённые на волжских берегах, стали в творческой жизни Левитана, пожалуй, самым значимым и плодотворным периодом, выдвинули его в первый ряд русских живописцев. Сейчас невозможно представить себе Левитана вне его волжских этюдов и картин: не случись в его жизни волжского городка Плёс, любви и преданности Софьи Кувшинниковой и Волги, это, вероятно, был бы совсем другой художник...
","type":"text","h":440,"w":339,"y":2309,"x":639,"_id":"59131c8981b1f9004b5e50b9"},{"viewport_phone_portrait":{"hidden":false,"z":117,"h":295,"w":415,"y":3211,"x":257},"viewport_tablet_portrait":{"hidden":false,"z":117,"h":295,"w":415,"y":3211,"x":481},"hidden":false,"animation":{"type":"scroll","steps":[{"scale":100,"speed":1,"dx":0,"dy":0,"opacity":100,"acceleration":"ease-out","start_point":"bottom","start_offset":150,"from_opacity":0,"from_scale":90,"use_move":true,"use_opacity":true,"use_scale":true}],"UUID":217},"z":116,"version":2,"text":"Весной 1888-го года Софья Петровна Кувшинникова убедила Левитана во второй раз поехать на Волгу. Два лета до этого они выезжали на этюды в Саввинскую Слободу под Звенигород, и эти места успели наскучить Кувшинниковой. Левитан долго не соглашался: «На Волгу? Да бросьте! Я там уже был». Казалось, его пугала перспектива опять, как два года назад, оказаться лицом к лицу с мрачной рекой. Тогда находчивая Софья, ставшая для черезчур нервного Левитана «живым успокоительным», предложила альтернативу - Оку.
Конец 1880-х - это стремительный взлет Левитана как художника.
На Волге.
\n1887-1888
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Восемь лет я была ученицей и другом Левитана. Это время, посвящённое практическому изучению природы под его руководством, — выше всякой школы.
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Софья Кувшинникова
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Первая зелень. Май.
1883-1888
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С волжских картин начинается «настоящий» Левитан - создатель русского национального пейзажа. Волга из левитановских юношеских грёз наконец совпала с Волгой в реальности.
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Березовая роща. 1885-1889
. 1889
Кажется, будто березы сами колышутся, поворачиваются навстречу солнечным лучам, чтобы лучше озариться и погреться. Вокруг все дышит радостью и праздником.
Волга
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Татарское кладбище. Крым. 1886
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Разлив на Суре.
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понятие как «пейзаж настроения» и его развитие в отечественном искусстве порой связывают почти исключительно с именем Левитана.
1890-е годы - время расцвета мастерства Левитана, его широкого признания и популярности у ценителей искусства. Но жизнь его и в эти годы отнюдь не была безоблачной, лишенной горестей и тягот. Не случайно рядом с пейзажами, утверждавшими красоту русской природы и единящих с ней мыслей и чувств, в его творчестве есть и драматические образы, в которых живет память о несовершенстве действительности. В то самое время, когда он в 1892 году работал над картиной «Вечерний звон», началось выселение из Москвы лиц еврейской национальности, и в один «прекрасный» день Левитану было предписано, как некрещеному еврею, в двадцать четыре часа покинуть город.
","type":"text","h":462,"w":414,"y":17,"x":1453,"_id":"59171d86c2be310048b80571"},{"is_above":false,"fixed_position":"c","hidden":false,"animation":{"UUID":250,"type":"scroll","steps":[{"use_move":true,"start_offset":0,"start_point":"bottom","dy":0,"dx":-3000,"delay_px":549,"speed":0.6}]},"z":139,"version":2,"text":"В зрелые годы Левитан, превратившийся, по замечанию его первого биографа Соломона Вермеля - из нищего мальчика в изящного джентльмена, воспринимался как «удивительно душевный, простой, задумчиво-добрый» человек, который «поражал всякого своим замечательным лицом и чуткими, вдумчивыми глазами, в которых светилась редкая и до крайности чуткая, поэтическая душа» (Федор Шаляпин). Одним из свидетельств признания особой духовной красоты Левитана стало обретение в нем Поленовым модели для изображения Христа в своей большой историческо-религиозной картине «Мечты» 1894, а также в картине «Христос и грешница» 1888.
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. 1889
Картина является состоянием души, медитацией, в которую погружается человек, когда видит старинный монастырь в золотых лучах заката, и слышит головокружительный перезвон колоколов, зовущих то ли на службу, то ли в небо за журавлями...
1892 год ознаменовался созданием двух важных полотен - «У омута» и «Владимирка», которые, в отличие от «Вечернего звона», пронизаны чувством драмы и несовершенства жизни. Холст «У омута» был задуман летом 1891 года в поместье Берново в Тверской губернии, где поэт Александр Сергеевич Пушкин когда-то слышал печальную историю о русалке, дочери мельника. Левитан создал глубоко эмоциональную работу, новую романтику в своем понимании, в которой интерпретация реальности, воспринимаемая через призму фольклорных образов, смешивается с личным духовным опытом художника.
Легендарная «Владимирка» привлекает зрителя и богатым историческим содержанием, и трагическими нотками поэтичности. И в плане живописном картина очень интересная. Ведь в ней гармонично сочетаются изысканность рисунка с разнообразием красочных оттенков. По-мастерски передается и само тревожное настроение пасмурного неба, угрожающе нависшего над извилистой лентой степной дороги. Монотонный унылый пейзаж немного оживляется светлым пятном, изображающим церковь, которая выписывается впереди и темная фигура женщины. Она стоит возле придорожного креста в немом ожидании. Множество горьких судеб увидела эта дорога, вызывающая горькие чувства безысходности и тоски…
У омута.
\n1892
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1892
Владимирский тракт - дорога, по которой на протяжении многих лет через всю Россию шли ссыльные, отправленные на каторгу в Сибирь. В картине Левитана соединилось и его гражданское неравнодушие к несчастным, и любовь художника к родной земле, и совершенное техническое исполнение. Левитан подарил эту картину Павлу Третьякову.
Картина «Владимирка», или, как написал сам художник в правом нижнем углу этой работы, «Володимирка» (1892), была написана под впечатлением встречи летом 1892 года с этим печально известным трактом (по которому отправляли в Сибирь каторжан). Хотя за несколько лет до того он перестала быть дорогой, по которой вели по этапу в Сибирь каторжан (в 1890-е годы их стали отправлять по железной дороге), память о «звоне кандальном» определяет строй картины, более значительной по своему содержанию, чем работы иных художников, изображавших колодников и жандармов. Создание этого полотна имело для Левитана смысл гражданского поступка. Не случайно он преподнес его в дар Павлу Третьякову, которого считал «великим гражданином» и в собрании которого видел колоссальное общественное значение.
Левитан часто впадал в меланхолию. Иногда читал что-нибудь такое, что вызывало бы страдание и грусть. Уговаривал меня читать вместе. «Мы найдем настроение, это так хорошо - душе так нужны слезы...»
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Константин Коровин
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Картина позволяет понять, что чувствовал художник в моменты, когда его настигали приступы смертельной тоски и одиночества, о которых он писал Елене Корзинкиной: «За лесом серая вода и серые люди, серая жизнь, не нужно ничего... Все донкихотство, хотя, как всякое донкихотство, оно и благородно, ну а дальше что? Вечность, грозная вечность, в которой потонули поколения и потонут еще... Какой ужас, какой страх». В то же время чувство одиночества и бессилия в картине Левитана не оказывается подавляющим. Вместе с ним в ее образном строе живут и иные переживания художника, придавшие большому полотну, по сравнению с эскизом, более надличный, философски-спокойный и мужественный эмоционально-образный смысл.
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В 1894 году Левитан завершил третью, наиболее масштабную картину своего драматического цикла – «Над вечным покоем».
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Не случайно художник, по воспоминаниям Софьи Кувшинниковой, просил ее во время работы над картиной играть ему на фортепиано траурный марш из «Героической симфонии» Бетховена, создавшего и «Оду к радости», и записавшего некогда на полях своих нот: «Жизнь есть трагедия! Ура!»
Обобщив свои размышления о противоречиях реальности, Левитан как бы возвращается в «просвет бытия» или, как говорили в старину, в «средоточие солнца». В его искусстве словно рассеиваются тучи, и от драматической эпики Левитан во всеоружии зрелого, отточенного мастерства, словно говоря, что прекрасная жизнь природы, несмотря ни на что, продолжается, переходит к созданию образов, отличающихся широтой и легкостью дыхания, радостной, «напряженной нежностью».
Картина увидела свет в момент наибольшего расцвета таланта художника. Именно поэтому его идея, философская глубина, отточенное мастерство, с которым написано это полотно, так поразили современников и поражают потомков. Содержание этой картины будет актуальным для всех поколений.
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Летом Левитан мог лежать на траве целый день и смотреть в небо. «Как странно все это и страшно, - говорил он мне, - и как хорошо небо, и никто не смотрит. Какая тайна мира - земля и небо. Нет конца, никто никогда не поймет этой тайны, как не поймут и смерть. А искусство - в нем есть что-то небесное – музыка».
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Константин Коровин
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","type":"text","h":138,"w":1025,"y":240.5,"x":-0.5,"_id":"59245b7db4059d0057bd639f"},{"viewport_tablet_portrait":{"fixed_position":"sw","hidden":false,"z":156,"h":41,"w":169,"y":50,"x":-448},"clickTarget":"_blank","clickLink":"http://tandem-web.ru/","animation":{"UUID":286,"type":"load","steps":[{"use_opacity":true,"from_opacity":0,"acceleration":"ease-out","opacity":100,"duration":3}]},"current-icon_color":"354949","fixed_position":"sw","hidden":false,"z":109,"hover-color-opacity":100,"hover-color":"ffffff","hover-border-color-opacity":100,"hover-border-color":"000000","hover-border-width":0,"hover-background-color-opacity":0,"hover-background-color":"0078ff","letter-spacing":0.4,"font-size":15,"color-opacity":80,"color":"ffffff","font-weight":"400","font-style":"normal","font-family":"jtcj","border-color-opacity":100,"border-color":"000000","border-width":0,"border-radius":5,"background-color-opacity":0,"background-color":"0078ff","em_w":14,"text_h":22,"text_w":134,"transition":false,"text":"Студия Тандем","form":"rectangle","tp":"text","type":"button","h":41,"w":169,"y":30,"x":25,"_id":"5925595a873c9703b8b4cc53"}],"type":"scroll","height":4167,"hidden":false,"sectionscroll":false,"arrows_color":"white","screenshot":"https://rm-content.s3-accelerate.amazonaws.com/58f7abeeb929e53bfdf1d5a2/770009/screenshot-20086c10-bc83-11e7-881c-cb5e8a6fb999_readyscr.jpg","mid":"59131c8881b1f9004b5e5051","title":"1894-1898","num":27,"num_id":2428939,"_id":"59174dc54c547d74cccdc671"},{"htmlUrl":"https://rm-content.s3-accelerate.amazonaws.com/58f7abeeb929e53bfdf1d5a2/770009/body-21cb2ab0-bc83-11e7-881c-cb5e8a6fb999.html","wids":[{"video":{"aspect_real":1.7857142857142858,"aspect_poster":1.3333333333333333,"color":"3ab9ff","theme":"dark","info":false,"mute":false,"loop":true,"autoplay":true,"title":"part5","thumbnail_url":"https://i.ytimg.com/vi/HNorq5FCW20/hqdefault.jpg","provider_name":"YouTube","video_id":"HNorq5FCW20","url":"https://youtu.be/HNorq5FCW20"},"viewport_phone_portrait":{"picture":{"type":"jpg","thumbUrl":"https://rm-content.s3.amazonaws.com/58f7abeeb929e53bfdf1d5a2/756681/upload-7fd364e0-2a9a-11e7-ab9f-e3b7e38bfb77.jpg","url":"https://rm-content.s3.amazonaws.com/58f7abeeb929e53bfdf1d5a2/756681/upload-7fd316c0-2a9a-11e7-ab9f-e3b7e38bfb77.jpg","poorUrl":"https://rm-content.s3.amazonaws.com/58f7abeeb929e53bfdf1d5a2/756681/upload-7fd38bf0-2a9a-11e7-ab9f-e3b7e38bfb77.jpg"}},"viewport_tablet_portrait":{"picture":{"type":"jpg","thumbUrl":"https://rm-content.s3.amazonaws.com/58f7abeeb929e53bfdf1d5a2/756681/upload-7fd364e0-2a9a-11e7-ab9f-e3b7e38bfb77.jpg","url":"https://rm-content.s3.amazonaws.com/58f7abeeb929e53bfdf1d5a2/756681/upload-7fd316c0-2a9a-11e7-ab9f-e3b7e38bfb77.jpg","poorUrl":"https://rm-content.s3.amazonaws.com/58f7abeeb929e53bfdf1d5a2/756681/upload-7fd38bf0-2a9a-11e7-ab9f-e3b7e38bfb77.jpg"}},"videoopacity":1,"loop":true,"mute":false,"picture":{"poorUrl":"https://rm-content.s3-accelerate.amazonaws.com/58f7abeeb929e53bfdf1d5a2/756681/upload-5bf1cab0-2c09-11e7-ab9f-e3b7e38bfb77.jpg","finalUrl":"https://rm-content.s3-accelerate.amazonaws.com/58f7abeeb929e53bfdf1d5a2/756681/upload-5bf12e70-2c09-11e7-ab9f-e3b7e38bfb77.jpg"},"selectedType":"video","opacity":1,"color":"ffffff","type":"background","_id":"5919eda82d989e007a44c98e"},{"sticked_margin":199,"sticked":"","is_above":false,"hidden":false,"animation":{"UUID":131,"type":"scroll","steps":[{"use_scale":true,"use_opacity":true,"from_scale":90,"from_opacity":0,"start_offset":150,"start_point":"bottom","scale":100,"opacity":100,"speed":1}]},"z":100,"version":2,"text":"Один из наиболее праздничных, ярких шедевров Левитана - «Свежий ветер. Волга» (1895), которую он задумал еще в 1890 году в Плёсе. Музыка этой картины отличается особенной бодростью и упругостью мелодики, звучностью мажорного цветового аккорда. Художник предоставляет взору зрителя образ полноводной реки в России, на которой не угасает жизнь, быстрыми рывками перемещаются лодки, неспешно и величаво плывут пароходы. Стоит также добавить, что эта работа была первым пейзажем, который художник выполнил не в состоянии покоя, а в движении.
","type":"text","h":432,"w":415,"y":2924,"x":87,"_id":"5919eda82d989e007a44c98f"},{"is_above":false,"hidden":false,"animation":{"type":"scroll","steps":[{"speed":0.34,"dx":0,"dy":61,"start_point":"bottom","start_offset":0,"use_move":true}],"UUID":287},"z":101,"stroke":"solid","weight":1,"sides":3,"radius":0,"borders":0,"opacity":1,"color":"4f9393","bg_opacity":1,"bg_color":"2b2b2b","tp":"rectangle","type":"shape","h":283,"w":377,"y":1056,"x":724,"_id":"5919eda82d989e007a44c994"},{"is_above":false,"hidden":false,"animation":{"type":"scroll","steps":[{"speed":0.34,"dx":0,"dy":61,"start_point":"bottom","start_offset":0,"use_move":true}],"UUID":287},"z":102,"version":2,"text":"Над вечным покоем. 1894
","type":"text","h":29,"w":297,"y":1091,"x":771,"_id":"5919eda82d989e007a44c995"},{"sticked_margin":294,"sticked":"","is_above":false,"hidden":false,"animation":{"UUID":142,"type":"load","steps":[{"startWhenInView":true,"use_opacity":true,"use_move":true,"from_opacity":0,"acceleration":"ease-out","opacity":100,"dy":50,"dx":0,"duration":1.1}]},"z":103,"version":2,"text":" Левитан почти всегда был грустным. Он жил как-то не совсем на земле, всегда погружался в тайную поэзию русской природы. Он сказал мне однажды: «Художника не любят, он не нужен. Вот Саврасов, он великий художник - и что? Я был у него дома, его тоже не любят дома. Все против, он чужд даже среди своего народа. Писателя легче понять, чем художника.
Меня тоже часто спрашивают - эти загородные дома, платформа, поезд или цветы, Москва. И все, что вы пишете, этот серый день, осень, лес, кому это все нужно?»
Константин Коровин
","type":"text","h":39,"w":262,"y":257,"x":380,"_id":"5919eda82d989e007a44c99e"},{"sticked_margin":199,"sticked":"","is_above":false,"hidden":false,"animation":{"type":"scroll","steps":[{"speed":0.34,"dx":0,"dy":61,"start_point":"bottom","start_offset":0,"use_move":true}],"UUID":287},"z":106,"version":2,"text":"Беспомощность, хрупкость и беззащитность - вот главные чувства, которые испытывает всякий зритель перед этой работой великого художника.
Осень была любимейшим временем года для Левитана, и он посвятил ей более сотни картин. Одной из самых любимых публикой картин является «Золотая осень» (1895), хотя она и не столь уж характерна для творчества художника - слишком ярко, смело, мажорно выполнена она. В мае 1896 года прямо с Передвижной выставки полотно было приобретено у автора Павлом Третьяковым за 700 рублей. В каталогах 1896 и 1917 годов это полотно фигурировало под названием «Осень». Возможно, что сам Левитан был не вполне удовлетворен ею, ибо через год написал еще одну картину с тем же названием, менее известную, но написанную более мягко, нежно, хрустально...
","type":"text","h":453,"w":415,"y":3348,"x":87,"_id":"5919ef578e7557007760d42c"},{"sticked_margin":199,"sticked":"","is_above":false,"hidden":false,"animation":{"UUID":290,"type":"scroll","steps":[{"use_scale":true,"use_opacity":true,"from_scale":90,"from_opacity":0,"start_offset":150,"start_point":"bottom","scale":100,"opacity":100,"speed":1}]},"z":124,"version":2,"text":"Вторая половина 1890-х годов была временем признания Левитана как выдающегося живописца, внесшего большой вклад в современную живопись. Десять работ Левитана были показаны на Передвижной выставке 1896 года и восемнадцать на Всероссийской выставке в Нижнем Новгороде в том же году. Весной Левитан показал три полотна в залах Международной выставки в Мюнхене. Обстановка в русском искусстве актуализировала идею укрепления единства молодых московских художников с группой петербургских интеллектуалов во главе с Александром Бенуа и Сергеем Дягилевым. Идею Дягилева организовать выставку молодых художников обеих столиц и опубликовать каталоги картин встретила яркие отклики Коровина и Серова и взволнованный Левитана.
","type":"text","h":599,"w":415,"y":5519,"x":86,"_id":"5919f11a2dcafd007f2c347e"},{"sticked_margin":199,"sticked":"","is_above":false,"hidden":false,"animation":{"UUID":291,"type":"scroll","steps":[{"use_scale":true,"use_opacity":true,"from_scale":90,"from_opacity":0,"start_offset":150,"start_point":"bottom","scale":100,"opacity":100,"speed":1}]},"z":109,"version":2,"text":"В конце века обуреваемый противоречивыми чувствами, одолеваемый болезнью сердца, и имеющий чувствительную нервную систему, Левитана приходит к появлению символических образов в его живописи. Посещение Финляндии в 1896 году вдохновило его на холст «Сумерки. Остатки былого» (1897), окрашенная ретроспективным чувством, осознание неумолимо проходящего времени. Такие картины встречались у многих живописцев. Но именно в работе Левитана, вероятно, из-за его больного состояния, мысли о краткости человеческой жизни и преходящем характере всех вещей были особенно острыми.
","type":"text","h":504,"w":415,"y":6108,"x":86,"_id":"591a03d97a81750067fc4ed2"},{"sticked_margin":199,"sticked":"","is_above":false,"hidden":false,"animation":{"UUID":292,"type":"scroll","steps":[{"speed":1,"opacity":100,"scale":100,"start_point":"bottom","start_offset":150,"from_opacity":0,"from_scale":90,"use_opacity":true,"use_scale":true}]},"z":110,"version":2,"text":"Осенью 1896 года друзья Левитана, видные российские деятели культуры, узнали о неизлечимой болезни сердца, которую усугубило заболевание тифом. Моменты простоя в творчестве чередовались у него с эмоциональными подъемами. В апреле 1897 года Чехов заметил: «Он страстно хочет работать, но его физическое состояние хуже, чем у человека с ограниченными возможностями». В этот период Левитан пишет пейзажи, полные солнца и надежды - «Весна. Цветущие яблони» (1896), «Весна. Большая вода» (1897). Но, несмотря на помощь лучших врачей и поездки на курорты, жить ему оставалось немного...
","type":"text","h":389,"w":420,"y":7250,"x":86,"_id":"591a05b9e3ca2500622d2e07"},{"sticked_margin":199,"sticked":"","is_above":false,"hidden":false,"animation":{"UUID":293,"type":"scroll","steps":[{"speed":1,"opacity":100,"scale":100,"start_point":"bottom","start_offset":150,"from_opacity":0,"from_scale":90,"use_opacity":true,"use_scale":true}]},"z":111,"version":2,"text":"В 1895 году исполнена пронизанная солнечной радостью весеннего обновления природы прекрасная картина «Март», которая может служить примером того, какое огромное влияние на современников оказывали работы Левитана. Известно, что Левитан редко изображал зиму и снег, предпочитая им осень или раннюю весну. Но, однажды, он взялся за зимний пейзаж, и написал эту картину – «Март», которая изображает не столько весну, сколько ясный зимний день. И картина произвела переворот в русской живописи.
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\n1895
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. 1889
Эта картина Левитана поражает и захватывает зрителя наполненностью и красотой своего эмоционального содержания.
Запоминать надо не отдельные предметы, а стараться схватить общее, то, в чем сказалась жизнь, гармония цветов. Работа по памяти приучает выделять те подробности, без которых теряется выразительность, а она является главным в искусстве.
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Исаак Левитан
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. 1889
Звонкое, голубое небо, струящиеся ввысь белые березы и деревца, плывущие вдали избы, утлая лодка, сливаются в ней в настолько мелодичное, чистое, прозрачное целое, что, всматриваясь в это очарованное пространство, как бы растворяешься в голубой лагуне весеннего дня.
Есть среди поздних работ Левитана и такие, в которых его страстная жажда жизни выливалась в повышенно-экспрессивной форме, выражаясь в динамизме образов, пастозной, рельефной фактуре, порой как бы возбужденности эмоционального строя полотна. Таковы, например, картины «Бурный день» (1897) и «Последние лучи солнца» (1899), в свободной, широкой живописи которой присущее самому мотиву бурное, подвижное начало обусловливает ощущаемую нами стремительность ритма работы художника, «бега» открытых мазков. Но особенно характерным для него в конце 1890-х годов стало частое обращение к сумеречным пейзажам, изображение спящих деревень, лунных тихих ночей…
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Последние лучи солнца. 1899
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Любовь к природе, требовательность к себе и исключительная зрительная память - таковы характерные черты Левитана, как художника. Левитан остался в моей памяти как художник, неразрывно связанный с русской школой пейзажа, глубоко любящий родную природу и с большим мастерством воплощающий эту природу в своих работах.
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