March (painting) - Knowledge (XXG)

283: 259: 959:"seldom painted winter and snow in general, preferring to depict its remnants in spring landscapes", but in 1895 he took up such a theme, painting "March", "in which everything breathes a premonition of spring and which is a depiction of a still wintry, sunny day". According to the art historian, "by turning to this new motif, Levitan created a landscape that became a discovery in Russian landscape painting" - "no one before him had painted snow illuminated by the sun in such a colourful and picturesque manner, with blue shadows; no one had depicted the spring sky and trees in such a way." Fedorov-Davydov wrote that "after Levitan, such a motif became a favourite theme in Russian landscape painting," citing as examples works such as 525: 302:. Levitan and Turchaninova had a romantic relationship, which resulted in a quarrel and the end of Levitan's relationship with Kuvshinnikova. Following this, Levitan relocated to the Gorka estate where he resided during August and September 1894. He returned to the estate in the early spring of the following year. As there were no appropriate rooms at the estate, an artist's workshop was constructed. The two-storey building was situated on the shore of the lake, at the confluence of the Syezha River (the same one depicted in Levitan's later painting 664:

basking in the sun, on the country road approaching the porch. The horse, named Dianka, is positioned in the centre of the painting and is an integral part of the landscape. At the same time, according to the literary critic Andrei Turkov, "the house did not enter the composition of the picture at a favourable angle - a part of the wall with poorly visible windows, a porch with a half-thawed roof, a drainpipe, recently fallen boards from the windows, boarded up for the winter". According to art historian

903: 783: 807: 3474: 928: 672: 331: 474:, which are too rough and harsh in tone.' According to Chuiko, 'the shortcomings noted in Mr Levitan's manner will disappear, we hope, in the near future, when his talent finally strengthens.' Nevertheless, the majority of the reviews about Levitan's work were positive, indicating 'recognition of the artist's talent, the originality of his work and his radiant individuality.' 1023: 29: 1019:

fully completed by the artist: "The pale yellow colour remained a colour and did not become a tone into which the colour of the wall and its change under the influence of sunlight and the surrounding atmosphere should merge". At the same time, according to Lyaskovskaya, the pale trunks of the exposed trees are "excellently painted."

795: 548:, who was in the area, described the meeting. In particular, he recognised the place in Levitan's painting: "As we approached the black porch of the house, my heart trembled at the image that suddenly appeared before me. ...This place was familiar to me. Only, everything was in winter dress, and the barrel was on a sledge. That 489:. Levitan himself visited the exhibition, where a total of eighteen of his paintings were displayed. In addition to works from the travelling exhibition, a number of Levitan's works from the late 1880s and early 1890s were presented in Nizhny Novgorod. This was the first wide retrospective display of the artist's work. In 1896, 350:

We are sitting in her Leningrad flat, talking to an elderly woman whose dark eyes retain both cunning and fire. Memories of Levitan have become like a family heirloom. She is one of the Turchaninova family's living witnesses to how the artist's best paintings were created in Gorka.' Prorokova quoted Anna Ivanovna's words: '

327:. She assisted the artist in carrying a box of paints, listened to his stories about the beauty of nature, and observed the creation of a future masterpiece. In later publications, the youngest daughter of the Turchaninovs was occasionally mistakenly referred to as Julia, likely due to its similarity to the name Lyulyu. 857:

combined with simplicity, demonstrated in the use of certain colours. However, according to art historian Galina Churak, although the pictorial language of the canvas "places Levitan next to the Impressionists", the artist "does not make the decisive step that would allow us to call him an Impressionist". Comparing

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said that he was struck by the "luminous dazzle of the March sun" in this work. According to him, every time he looks at the canvas he stands before this miracle "as if hypnotised", and when he "manages to be in nature in March, or to sit on the boulevard in the city on a sunny March morning, a witty

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is positioned unusually high on one of the trees, giving the impression that it is attached to a branch that is too thin. The light-coloured trunks of the trees on either side of the canvas appear to lean towards each other. The scene conveys a sense of slight motion, with the deciduous trees, pines,

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and the manor of the village 'Ostrovno', and the western steep shore covered with birch forest. To the east and west of the house there are birch groves, cleared, with made paths... The 'Gorka' estate is perfect as a holiday home. Dry, sandy land, healthy pine air and a beautiful forest, a garden and

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The writer Sofia Prorokova, author of a biography of Levitan published in 1960, recounted her meeting with Anna Ivanovna Turchaninova (first married Zvorykina, second married Kolokoltsova): 'Years would pass, Anya would grow up, and this sunny spring would remain a vivid memory of her distant youth.

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In the early 1870s, the Turchaninovs acquired the land near Lake Ostrovno and replaced the old one-storey house left by the previous owners with a two-storey house. Additionally, they owned one of the lake islands, which featured a gazebo and benches. In the documents of the Statistical Committee of

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Levitan formed the image as if from separate fragments "cut by the frame", but at the same time all these parts "form a single whole, a kind of unity." Alpatov wrote that to this landscape "nothing can be added, nothing can be taken away from it" - in none of Levitan's previous works did the artist

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presents "a whole and internally complete image, at the same time preserving all the immediacy and freshness of the first impressions." According to Maltseva, the sunny palette the artist created in this landscape was perceived by his contemporaries as "a discovery in the representation of Russian

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established a tradition in Russian painting that has been taken up by a number of artists and continues to this day. Kruglov noted that the successful choice of an almost square canvas format "enhances the impressive expressiveness of the picture", and a short, energetic stroke and lively texture

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painting. Lyaskovskaya praised the accuracy of the relations between sky, earth and trees, and the precision with which "the reflections in the snow and the dark blue shadows in the depths" were painted. However, she also noted that the wall of the house and the casement of the open door were not

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differs significantly from it in painting technique. It is a vivid example of the so-called ‘Levitan’s landscape’ - a ‘landscape of mood’, in which the artist, despite depicting the ‘jubilant state of nature,’ managed to preserve the lyrical shade of experience and sadness in the painting. Unlike

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In his memoirs, the painter Vasily Baksheev noted that Isaac Levitan remained in his memory as "an artist inseparably connected with the Russian national school of landscape", while "deeply loving the nature of his homeland, tirelessly studying it and embodying it with great skill in his works".

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displays Impressionist characteristics such as "temperamental, open thick strokes, that almost sculpturaly 'mould' the blue March snow." Relief strokes of whitewash create a sense of snow porosity and contribute to a more active experience of the image. At the same time, objective techniques are

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lying next to the porch all appearing to move. The horizontal edge of the snow-covered field, extending to the distant coniferous trees, divides the painting into two roughly equal parts and "brings a note of tranquillity to it." The shades of snow, the blue shadows of the trees and the blue sky

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The painting by Levitan depicts the backyards of the Gorka estate, with the yellow wall of the main house visible on the right side of the painting. The scene is set on a sunny day in March, with melting snow, trees, and a country road leading up to the porch. A horse with a sleigh stands still,

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Sofia Prorokova's memoirs provide a detailed account of how she located Anna Ivanovna Turchaninova (Lyulyu). While visiting Lake Ostrovno, local residents informed her that E A. Zvorykina, the sister of Anna Ivanovna's first husband, resided in Leningrad. Prorokova obtained Zvorykina's address

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is uneven: relief strokes up to two millimetres thick are used to represent the snow, while the transparent branches of the trees reveal the texture of the canvas. As one moves away from the foreground, the artist's strokes become less distinct and the treatment more generalised. For the snowy

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of the conifers are painted in shades of green from light to dark. The most complex combinations of primary colours are found in the paintings of the deciduous trees and the rutted road. Despite the presence of many subtle shades and reflexes, the colour palette of the painting is "extremely

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The three main colours that define the colour scheme of the canvas are yellow, blue and green, with white added in places. Yellow is found not only on the wall of the house and on the ajar door, but also on the tops of the trees and in shades of horse hair. Most of the blue is present in the

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sonorous, much more sonorous than in any of Levitan's previous paintings". The primary colours do not only have intensity but also definition, which is most evident in the colouring of the yellow wall of the house, the blue sky and the green pines. When analysing the colours used to paint

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The Gorka estate did not survive the revolutionary upheavals of the early 20th century. Levitan's house workshop, where he worked in the mid-1890s, burned down in 1904. Ivan Nikolayevich Turchaninov deceased in 1910, and in 1914, the estate was sold to Aggey Aggeyevich Markov, a second

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a "great and inspired work" and wrote that it would be difficult to find another landscape in painting of the time that "so reverently conveys the awakening of nature". Noting the brevity of the artistic means used by Levitan to create the canvas, Maltseva wrote that the painting

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the Tver Province, there is the following description of the estate: 'The estate 'Gorka' on the southern peninsula of Lake Ostrovnoe. The place is beautiful. To the south behind the manor there is a pine forest, directly overlooking the lake, its islands, the eastern shore with a

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is characterised by its exceptional simplicity, clarity and precision, in which "everything seems simple, natural and even uncomplicated". At the same time, the compositional lines used by the artist give the landscape finality and completeness. According to Alpatov, in

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Anna Nikolayevna Turchaninova, née Makarova (25 May 1856 - 24 November 1930, Paris), was four years older than Levitan. Her daughters were Varvara Ivanovna (around 1875 - 1925), Sofia Ivanovna (1877 - around 1825) and Anna Ivanovna (2 December 1880,

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The Ostrovno estate was owned by Ekaterina Nikolaevna Ushakova (née Seslavina, 1821-1910) and her children Varvara Vladimirovna (1849 - about 1919), Sofia Vladimirovna (1851 - about 1919) and Nikolay Vladimirovich (1859-1917). Levitan and

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in 1959 as part of an exhibition of Russian and Soviet artists. It was also featured in the 1971-1972 exhibitions 'Peredvizhniki in the State Tretyakov Gallery' (Moscow) and 'Landscape Painting of the Peredvizhniki' (Kyiv, Leningrad,

466:' (Vol. 55, No. 1413 for 1896), Vladimir Chuiko praised Levitan for his choice of subjects and his peculiar way of painting, noting that 'almost all his paintings (10 in number) attract attention, with the exception of two: 190:

was a 'discovery in Russian landscape painting', combining a pictorial depiction of snow, spring sky, and trees. This motif later became a popular theme for many Russian landscape painters of the 20th century, including

865:, art historian Dmitry Sarabianov wrote that in the mid-1890s the artist "did not make significant steps towards the development of the Impressionist system" and "as if stopped at the level of Proto-Impressionism." 765:

there is "a desire for a direct sensual and visual representation of natural phenomena", with "an intimate perception of the everyday environment conveyed in the feeling of warm air melting the heavy spring snow".

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using photographic images. However, according to Minchenkov, “nowhere do you see signs of photography, nowhere did it lead the artist to crude naturalism, did not force him to opt for unnecessary details.”

1982: 361:, which is now held in a private collection in Moscow. The painting was previously in the collection of Moscow patron of the arts Vladimir Shmarovin. A sketch of the same name is held in the 182:

Artist Vasily Baksheev praised the painting, considering it not only one of Levitan's best works, but also one of the best works of the Russian school of painting. According to art historian

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depiction of the cloudless spring sky; this blue is combined with the blue used to paint the shadows of the trees, as well as with the greyish blue tones of the snow in the background. The

112:(Inventory 1489) and measures 60 × 75 cm (or 61 × 76 cm according to other sources). Levitan painted the picture in March 1895 while living in the Gorka estate, situated in the 878:. Commenting on the painting, Baksheev wrote that he considered it not only one of Levitan's best works, but also "one of the best works of our school ". - It was "as much a pearl" as 236:

Ivan Nikolayevich Turchaninov. His wife, Anna Nikolayevna, often spent time there with their daughters Varvara, Sofya, and Anna. The manor's main building is a two-storey house with a

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In 1894–1895, Levitan resided for several months at the Gorka estate, which is situated one and a half kilometres from the village of Ostrovno. The estate is now part of the

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is a 'inspired work in a major tone' that presents 'a whole and internally complete image, preserving at the same time all the immediacy and freshness of first impressions.'

455: 668:, the wall of the house with planks that extend deep into the canvas, and the thawed country road "draw the viewer into the painting, help him to enter it mentally." 462:. Levitan's canvases, which were quite diverse, received mixed reviews from critics. In particular, in the note 'The Exhibition of Peredvizhniki', published in the ' 323:. The youngest daughter of the Turchaninovs, Anya (known as Lyulyu within the family), who was 14 years old at the time, witnessed the artist's work on the painting 1058:"has not lost its prominent place, if not in the history of Russian art, then in the souls of people who can feel the beauty of their homeland." According to him, 556:

was also present. In another description of the same meeting, Byalynitsky-Birulya wrote: "We walked past the black porch, where the view falls on a magnificent

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also depicts a horse and sleigh standing near a village house. However, unlike Levitan's sunny spring canvas, Korovin's painting portrays a gloomy winter day.

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The painting's main motif depicts the contrast between winter and spring, sunlight and snow. This is highlighted by the colour contrast between the dark

704:, others do not specify which trees are depicted on the canvas) in front of them, which appear to be reaching for the spring sun with their branches. A 2034: 298:

Levitan first met Anna Nikolaevna Turchaninova in the summer of 1894 in Ostrovno. He was a guest at the Ushakov estate with his companion, the artist

3395: 517:(January–February). The exhibition catalogue issued in Kharkiv described the paintings as 'property of the Moscow City Gallery of brothers P. and 1372: 828:

and semi-glaze over a layer of whitewash. According to the memoirs of the artist Yakov Minchenkov, when Levitan painted the snow on the canvas

252: 1243: 3286: 3220: 3020: 2920: 2881: 2862: 2770: 2623: 2998: 524: 365:(25.5 × 33.3 cm, canvas, oil, inv. Zh-4261). In 1895, Levitan created several paintings while working on the Gorka estate, including 3511: 3477: 454:

in March of the same year. The exhibition was split between two locations: the Saint Petersburg exhibit was held in the building of the

3189: 3128: 2987: 2964: 2939: 2843: 2789: 2729: 2688: 2642: 608:. It was exhibited at the anniversary exhibitions for the 150th anniversary of Levitan's birth, held in the Benois Building of the 1557: 2901: 2604: 1176:(1899), which was presented at the 27th Travelling Exhibition. However, it was criticised for being an 'obvious imitation' of 2534:. Vol. 1 (1918—1969). Moscow: Центральное филателистическое агентство «Союзпечать» Министерства связи СССР. p. 296. 518: 1496: 3501: 175:

is widely regarded as one of Levitan's most famous and vivid landscape paintings. It also demonstrates the influence of

3388: 2572:Алленов, М.М. (1989). "Русское искусство XIX — начала XX века". In М.М. Алленов; О.С. Евангулова; Л.И. Лифшиц (eds.). 1003:

In her book "Plein Air in Russian Painting of the 19th Century", art historian Olga Lyaskovskaya wrote that Levitan's

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a wonderful view of the lake with its green islands, a white church and a tall old tavern of the village 'Ostrovno.'

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is considered to be one of Levitan's 'life-affirming, cheerful works' from 1895 to 1897. This group also includes

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create a very picturesque image. This subject is repeated many times in the landscapes of other Russian artists.

463: 233: 3427: 304: 1662: 2038: 952: 941: 918: 890: 749: 744: 680: 183: 761:, where the narrative character dominates and the landscape is largely interpreted through genre means, in 727:, art historian Tatyana Kovalenskaya observed that they coincided with the shades of painting of Yaroslavl 696:

in the background and the light, sunlit trunks of the deciduous trees (while some authors refer to them as

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seems to capture forever the joyful moment when everything is in front of you, everything is possible."

996:"find such a happy completeness in nature like near this village house at the edge of the road, at the 1113:

stayed at the Ushakovs' estate during the summer of 1893 while the artist was working on the painting

225: 113: 595:. However, it only participated in the Moscow part of the exposition. The painting was exhibited in 1165: 1110: 553: 299: 2609:и подготовка в Третьяковской галерее выставки, приуроченной к 150-летию со дня рождения художника" 902: 1115: 874:

According to Baksheev, there is "so much spring warmth, so much light, warming sun" in Levitan's

643: 637: 569: 389: 334: 217: 97: 782: 1063:"give a sense of light and air flowing, the play of light and shadow, flickering reflections." 806: 3435: 3282: 3216: 3185: 3124: 3016: 2983: 2960: 2935: 2916: 2877: 2858: 2839: 2785: 2766: 2725: 2684: 2638: 2619: 685: 652: 584: 533: 418: 393: 370: 342: 163: 105: 79: 3330:[Isaac Levitan — Best paintings, landscape paintings — March, 1895]. isaak-levitan.ru 1376: 501:

from the author. The 24th travelling exhibition continued its journey to other cities of the

3012: 2593: 2582: 1096: 447: 229: 132: 117: 3215:. Vol. 6: Живопись второй половины XIX века (К—М). Saint Petersburg: Palace Editions. 1666: 620:

was displayed at the 'exhibition of one masterpiece' at the Primorsky State Art Gallery in

3443: 2817:Мальцева, Ф.С. (1968). И.Э. Грабарь; В.Н. Лазарев; А.А. Сидоров; О.А. Швидковский (eds.). 1139: 979: 969: 933: 886: 879: 848:, created in 1895, are considered to be the most significant examples of the influence of 739: 675: 665: 490: 486: 196: 148: 144: 3184:. Vol. 4: Живопись второй половины XIX века, книга 1, А–М. Moscow: Красная площадь. 544:

merchant. Before the sale, Anna Ivanovna Turchaninova (Lyulyu) visited Gorka. The artist

319:, in a few sessions. This may have been the first time Levitan created a canvas directly 2980:Левитановские чтения. Материалы научно-практической конференции (3—4 октября 2011 года) 1143: 1067: 1008: 964: 913: 719: 710: 609: 502: 362: 291: 3312: 1561: 631:

was conducted to determine visitors' preferences. The results of the poll showed that

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is currently exhibited in the Levitan Hall (Room No. 37) of the main building of the

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was the third most popular work of the artist, behind only the large-format canvases

605: 580: 443: 409: 262: 176: 128: 101: 39: 3249:Каталог XXIV передвижной выставки "Товарищества передвижных художественных выставок" 3461: 2678: 1247: 1015: 927: 697: 671: 628: 557: 514: 330: 320: 57: 1129:

through the address bureau, which ultimately led her to Anna Ivanovna's residence.

1969: 1954: 1807: 1246:. Государственная Третьяковская галерея — www.tretyakovgallery.ru. Archived from 1227: 1054:

In a book published in 2001, art historian Vladimir Kruglov wrote that Levitan's

3168: 2975: 2574:Русское искусство X — начала XX века. Архитектура, скульптура, живопись, графика 1375:. Государственная Третьяковская галерея, www.tretyakovgallery.ru. Archived from 960: 908: 833: 621: 613: 316: 221: 192: 2085:"Исаак Левитан. "Март". Выставка одного шедевра в Приморской картинной галерее" 3298:Товарищество передвижных художественных выставок. Письма, документы. 1869—1899 3139: 2934:. Русские живописцы XIX века (in Russian). Saint Petersburg: Художник России. 2653: 2950: 2895:. Русские живописцы XIX века (in Russian). Saint Petersburg: Художник России. 1500: 1462: 3343: 3203: 3044: 705: 588: 237: 3346:[Monograph on the artist Isaak Levitan (part 10)]. isaak-levitan.ru 3296:В.В. Андреева; М.В. Астафьева; С.Н. Гольдштейн; Н.Л. Приймак, eds. (1982). 1071:

paradox flashes through his mind: "How amazingly nature imitates Levitan's

1022: 232:. The estate, located on the southern shore of Lake Ostrovno, was owned by 3200:Государственный Русский музей — Живопись, XVIII — начало XX века (каталог) 2012: 1663:"Гений русского пейзажа — Исаак Левитан и тверские страницы его биографии" 28: 269:(pastel, 1894, Omsk Regional Museum of Fine Arts named after M.A. Vrubel) 1459:"Исторические усадьбы России — Усадьбы Тверской области — Усадьба Горка" 3327: 3252: 3107: 1499:. Литературная карта Тверского края, litmap.tvercult.ru. Archived from 506: 71:

60 cm × 75 cm (24 in × 30 in)

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with "the most Impressionist work" Levitan had created in the 1880s -

572:, the mansion was destroyed by fire, the cause suspected to be arson. 2784:. Золотая галерея русской живописи (in Russian). Moscow: Арт-Родник. 1918: 1270: 728: 596: 451: 275: 245: 109: 83: 61: 2801:Техника масляной живописи русских мастеров с XVIII по начало XX века 2765:(in Russian). Moscow: Директмедиа Паблишинг и Комсомольская правда. 315:. The artwork was painted entirely from nature, without preliminary 3362:[Painting in detail: "March" by Isaac Levitan]. Культура.РФ 240:, painted in a yellowish hue. It is depicted in Levitan's painting 3034:. Жизнь замечательных людей (in Russian). Moscow: Молодая гвардия. 1021: 732: 701: 670: 601: 541: 377:(now in the Astrakhan Picture Gallery named after P. M. Dogadin). 329: 257: 3373: 3274: 2956: 1031: 693: 592: 510: 3377: 627:

During Levitan's jubilee exhibition in Moscow in 2010–2011, an

2825:и пейзажная живопись 1890-х годов (in Russian). Vol. 10, 2088: 2063: 1985:. Государственный Русский музей — rusmuseum.ru. Archived from 1795: 1075:" According to the literary critic Andrei Turkov, "Levitan's 564:. We all involuntarily cried out in joy: "Look, this is what 3328:"Исаак Ильич Левитан — Лучшие картины, пейзажи — Март, 1895" 3074:(in Russian). Moscow: Издательство Московского университета. 2654:"О левитановском пейзаже и юбилейной левитановской выставке" 2035:"В Третьяковской галерее юбилейная выставка Исаака Левитана" 1142:("old style") is used to date events that took place in the 2836:Мастера русского пейзажа. Вторая половина XIX века. Часть 4 616:(October 2010-March 2011). In September 2017, the painting 458:, while the Moscow exhibit was held in the premises of the 3154:Чуйко, В.В. (1896). "Выставка передвижников (окончание)". 135:. It was later moved to Moscow in March of the same year. 3315:[Isaac Levitan — March, 1895]. www.art-catalog.ru 253:

Omsk Regional Museum of Fine Arts named after M.A. Vrubel

3182:Государственная Третьяковская галерея — каталог собрания 1983:"Исаак Левитан (1860—1900). К 150-летию со дня рождения" 3241:Исаак Ильич Левитан. Документы, материалы, библиография 1970:

State Tretyakov Gallery catalogue, vol. 4, book 1 (2001

1955:

State Tretyakov Gallery catalogue, vol. 4, book 1 (2001

1808:

State Tretyakov Gallery catalogue, vol. 4, book 1 (2001

1665:. «Тверские ведомости» — www.vedtver.ru. Archived from 1228:

State Tretyakov Gallery catalogue, vol. 4, book 1 (2001

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was painted from!" In June 1923, a few years after the

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is sometimes said to be preceded by the 1894 landscape

3263:Омский областной музей изобразительных искусств имени 2724:. Мастера живописи (in Russian). Moscow: Белый город. 2587:. Массовая библиотека (in Russian). Moscow: Искусство. 1919:Товарищество передвижных художественных выставок (1987 1271:Товарищество передвижных художественных выставок (1987 2398: 1155:

Hall No. 37 of the main building in Lavrushinsky Lane

587:, and the jubilee exhibition in 1960–1961 in Moscow, 460:

Moscow School of Painting, Sculpture and Architecture

3232:Исаак Ильич Левитан. Письма, документы, воспоминания 3092:. Жизнь в искусстве (in Russian). Moscow: Искусство. 3454: 3411: 3344:"Монография о художнике Исааке Левитане (часть 10)" 3072:История русского искусства второй половины XIX века 308:). It was humorously referred to as a 'synagogue'. 75: 67: 53: 45: 35: 21: 3114:(in Russian). Moscow: Искусство. pp. 523–539. 2698:Карлсен, Г.; Кочик, О.Я.; Виктурина, М.П. (1963). 2576:(in Russian). Moscow: Искусство. pp. 257–473. 450:on 11 February 1896. The exhibition then moved to 2855:Русская пейзажная живопись. Конец XVIII — XIX век 3213:Государственный Русский музей — каталог собрания 3063:Товарищество передвижных художественных выставок 3054:Исаак Ильич Левитан. К 100-летию со дня рождения 2743:(in Russian). Moscow: Изобразительное искусство. 2009:"Левитан в Русском музее: Чем ёлка лучше пальмы" 612:(April–July 2010) and in the New Tretyakovka on 579:was exhibited at several exhibitions, including 357:During the spring of 1895, Levitan also painted 104:(1860–1900), created in 1895. It is held in the 2952:Знаменитые россияне в истории Удомельского края 2763:Исаак Ильич Левитан (Великие художники, том 15) 2493: 2359: 2311: 2299: 2272: 2236: 2011:. Фонтанка.ру — www.fontanka.ru. Archived from 1858: 1846: 1713: 1416: 1339: 819:The thickness of the paint layer on the canvas 560:, which everyone knows from Levitan's painting 404:24th traveling exhibition and subsequent events 3112:Русское и советское искусство. Статьи и очерки 2087:. Музеи России — www.museum.ru. Archived from 2062:. Музеи России — www.museum.ru. Archived from 2037:. Ведомости — www.vedomosti.ru. Archived from 647:(1894, State Tretyakov Gallery). The painting 604:, Moscow) to commemorate the centenary of the 3389: 2595:С.Ю. Жуковский. Жизнь и творчество. 1875—1944 1544: 199:. According to art historian Faina Maltseva, 141:All-Russia industrial and art exhibition 1896 8: 3211:Г.Н. Голдовский; В.А. Леняшин, eds. (2016). 3140:"Хроника жизни и творчества Исаака Левитана" 2668:Иогансон, Б.В. (1970). И.А. Куратова (ed.). 2618:(in Russian). Moscow: Экспресс 24: 219–225. 2060:"Исаак Левитан. К 150-летию со дня рождения" 1784:State Russian Museum catalogue, vol. 6 (2016 1558:"Левитан Исаак Ильич — Осень. Усадьба, 1894" 552:was before my eyes". Apparently, the artist 442:was exhibited at the 24th exhibition of the 311:In March 1895, Levitan created the painting 127:was exhibited at the 24th exhibition of the 3360:"Картина в деталях: "Март" Исаака Левитана" 2754:Известия Русского генеалогического общества 2323: 1906: 1894: 1769: 709:ajar door partly covered with shadows, and 3396: 3382: 3374: 2715:(in Russian). Kalinin: Московский рабочий. 2517: 2481: 2248: 1172:. He used a similar motif in his painting 27: 18: 16:A painting by Russian artist Isaac Levitan 3267:. Русская живопись XVIII — начала XX века 3056:(in Russian). Moscow: Советский художник. 2635:История искусств. Отечественное искусство 2425: 2335: 2132: 2108: 1757: 1728: 1285: 456:Society for the Encouragement of the Arts 2857:(in Russian). Saint Petersburg: Аврора. 2556: 2544: 2455: 2386: 2260: 2224: 1930: 1701: 1689: 1624: 1612: 1598: 1581: 1532: 1520: 1431: 523: 483:All-Russia industrial and art exhibition 281: 151:purchased the painting from the author. 3099:Исаак Ильич Левитан. Жизнь и творчество 3047:: Верхне-Волжское книжное издательство. 2976:"Художник Исаак Ильич Левитан в Удомле" 2700:"Особенности техники живописи Левитана" 2505: 2440: 2410: 2212: 2176: 2164: 1942: 1882: 1831: 1819: 1399: 1356: 1327: 1300: 1198: 1191: 1087: 731:listed by Levitan himself: “whitewash, 224:, but at that time, it was part of the 3180:Я.В. Брук; Л.И. Иовлева, eds. (2001). 2915:(in Russian). Moscow: Инико: 606–618. 2466: 2464: 2451: 2449: 2436: 2434: 2421: 2419: 2382: 2380: 2347: 2295: 2293: 2284: 2200: 2188: 2160: 2158: 2156: 2147: 2143: 2141: 2120: 1965: 1963: 1842: 1840: 1685: 1683: 1648: 1636: 1461:. hist-usadba.narod.ru. Archived from 1446: 1442: 1440: 1427: 1425: 1412: 1410: 1408: 1395: 1393: 1367: 1365: 1352: 1350: 1348: 1315: 606:Society for Travelling Art Exhibitions 444:Society for Travelling Art Exhibitions 129:Society for Travelling Art Exhibitions 3041:Корни. Воспоминания, дневники, письма 2470: 2371: 1870: 1779: 1777: 1741: 1739: 1737: 1724: 1722: 1608: 1606: 1594: 1592: 1590: 1497:"Антон Павлович Чехов — Имение Горка" 1491: 1489: 1487: 1485: 1483: 1481: 1479: 1311: 1309: 1296: 1294: 735:, blue, something like green earth.” 7: 2756:(in Russian) (11). Saint Petersburg. 2637:(in Russian). Moscow: Высшая школа. 2399:Карлсен, Кочик & Виктурина (1963 1796:State Russian Museum catalogue (1980 1560:. www.art-catalog.ru. Archived from 1281: 1279: 1266: 1264: 1238: 1236: 1223: 1221: 1219: 1217: 1215: 1213: 1211: 1209: 1207: 1041:Art historian Faina Maltseva called 641:(1892, State Tretyakov Gallery) and 131:(Peredvizhniki) in February 1896 in 3123:(in Russian). Moscow: Белый город. 2876:(in Russian). Moscow: Directmedia. 1745: 583:personal exhibition in 1938 at the 171:(1897), among others. The painting 3313:"Левитан Исаак Ильич — Март, 1895" 3239:А.А. Фёдоров-Давыдов, ed. (1966). 3230:А.А. Фёдоров-Давыдов, ed. (1956). 2829:. Moscow: Наука. pp. 108–178. 2810:Пленер в русской живописи XIX века 408:Together with nine other works by 14: 2838:(in Russian). Moscow: Искусство. 2741:Русский реализм и проблема идеала 485:, which opened on 28 May 1896 in 388:by Russian impressionist painter 3473: 3472: 3243:(in Russian). Moscow: Искусство. 3234:(in Russian). Moscow: Искусство. 3169:""Художник чудный и гениальный"" 3121:Импрессионизм в русской живописи 3101:(in Russian). Moscow: Искусство. 3065:(in Russian). Moscow: Искусство. 2812:(in Russian). Moscow: Искусство. 2803:(in Russian). Moscow: Искусство. 2672:(in Russian). Moscow: Искусство. 2598:(in Russian). Moscow: Искусство. 1168:was also impressed by Levitan's 1066:Writing about March, the artist 926: 901: 832:, he checked the proportions of 805: 793: 781: 251:(1894), currently stored in the 3255:: Типография Ю.А. Счасни. 1896. 2605:"История персональных выставок 1014:, could serve as an example of 800:Tree branches and the birdhouse 505:in autumn and winter, visiting 3260:И.Г. Девятьярова, ed. (2012). 3106:Фёдоров-Давыдов, А.А. (1975). 3097:Фёдоров-Давыдов, А.А. (1966). 2913:Третьяковские чтения 2010—2011 1: 3083:(in Russian). Moscow: Галарт. 3000:"Колдовское озеро". Художник 738:Although close in subject to 354:was painted in front of me.' 2874:Воспоминания о передвижниках 2713:Художники в Удомельском крае 2683:(in Russian). Moscow: Вече. 1661:Сергеев, Илья (2012-08-24). 1244:"Левитан Исаак Ильич — Март" 3206:: Аврора и Искусство. 1980. 2750:"Вокруг "Дома с мезонином"" 2532:Каталог почтовых марок СССР 978:According to art historian 532:in the Levitan Hall of the 3528: 3512:Paintings by Isaac Levitan 2819:История русского искусства 2748:Колокольцов, В.И. (2000). 2739:Коваленская, Т.М. (1983). 2603:Захаренкова, Л.И. (2010). 2033:Махонин, А. (2010-10-18). 772:Fragments of the painting 546:Vitold Byalynitsky-Birulya 481:was also exhibited at the 3470: 3175:(in Russian) (95): 30–43. 3070:Сарабьянов, Д.В. (1989). 2808:Лясковская, О.А. (1966). 2616:Третьяковские чтения 2009 2530:М.И. Спивак, ed. (1983). 2007:Лузина, О. (2010-04-30). 26: 3149:(in Russian) (3): 58–71. 3061:Рогинская, Ф.С. (1989). 3039:Пророкова, С.А. (1989). 3030:Пророкова, С.А. (1960). 2930:Пилипенко, В.Н. (1994). 2900:Петрунина, Л.Я. (2012). 2872:Минченков, Я.Д. (2016). 2706:(in Russian) (3): 30–34. 493:purchased the paintings 464:Vsemirnaya Illustratsiya 179:on the artist's oeuvre. 3119:Филиппов, В.А. (2003). 2997:Подушков, Д.Л. (2018). 2974:Подушков, Д.Л. (2014). 2949:Подушков, Д.Л. (2009). 2834:Мальцева, Ф.С. (2002). 2799:Лужецкая, А.Н. (1965). 2663:(in Russian) (3): 4–13. 1119:, and returned in 1894. 984:compositional structure 942:State Tretyakov Gallery 919:State Tretyakov Gallery 891:The Rooks Have Returned 750:State Tretyakov Gallery 745:The Rooks Have Returned 686:State Tretyakov Gallery 681:The Rooks Have Returned 585:State Tretyakov Gallery 534:State Tretyakov Gallery 513:(December–January) and 394:State Tretyakov Gallery 371:State Tretyakov Gallery 343:State Tretyakov Gallery 212:Background and creation 106:State Tretyakov Gallery 80:State Tretyakov Gallery 3079:Стернин, Г.Ю. (2009). 3052:Прытков, В.А. (1960). 2780:Круглов, В.Ф. (2001). 2720:Киселёв, М.Ф. (2001). 2652:Иовлева, Л.И. (2010). 2592:Горелов, М.И. (1982). 2581:Алпатов, М.В. (1945). 1164:The landscape painter 1038: 953:Alexei Fedorov-Davydov 824:shadows, Levitan used 812:Snow on the porch roof 689: 655:in Lavrushinsky Lane. 536: 346: 295: 270: 184:Alexei Fedorov-Davydov 100:by the Russian artist 3156:Всемирная иллюстрация 3147:Третьяковская галерея 3138:Чижмак, М.С. (2010). 3088:Турков, А.М. (1974). 2891:Петров, В.А. (1992). 2761:Королёва, С. (2009). 2677:Ионина, Н.А. (2006). 2661:Третьяковская галерея 2633:Ильина, Т.В. (2000). 2494:Фёдоров-Давыдов (1966 2360:Фёдоров-Давыдов (1966 2312:Фёдоров-Давыдов (1975 2300:Фёдоров-Давыдов (1975 2273:Фёдоров-Давыдов (1966 1859:Фёдоров-Давыдов (1966 1847:Фёдоров-Давыдов (1966 1714:Фёдоров-Давыдов (1966 1417:Фёдоров-Давыдов (1975 1373:"Левитан Исаак Ильич" 1340:Фёдоров-Давыдов (1975 1025: 788:Horse with the sleigh 674: 527: 446:('Peredvizhniki') in 424:Spring. The Last Snow 359:Spring. The Last Snow 333: 288:Spring. The Last Snow 285: 261: 186:, Levitan's painting 139:was exhibited at the 3300:. Moscow: Искусство. 3167:Чурак, Г.С. (2010). 3081:От Репина до Врубеля 3008:на Удомельской земле 2853:Манин, В.С. (2012). 2237:Фёдоров-Давыдов 1966 610:State Russian Museum 509:(October–November), 363:State Russian Museum 292:State Russian Museum 226:Vyshnevolotsky Uyezd 147:. In the same year, 114:Vyshnevolotsky Uyezd 3502:Landscape paintings 3090:Исаак Ильич Левитан 2893:Исаак Ильич Левитан 2670:Исаак Ильич Левитан 2484:, pp. 294–295) 2275:, pp. 201–202) 2239:, pp. 201–202. 1897:, pp. 219–220) 1861:, pp. 378–379) 1810:, pp. 363–364) 1615:, pp. 116–126) 1545:Каталог ООМИИ (2012 1523:, pp. 116–126. 1166:Stanislav Zhukovsky 1099:- 1964, Leningrad). 852:on Levitan's work. 554:Stanislav Zhukovsky 300:Sofia Kuvshinnikova 2932:Пейзажная живопись 2722:Константин Коровин 2711:Кац, Л.И. (1983). 2680:100 великих картин 1770:Колокольцов (2000) 1584:, pp. 29, 48) 1116:Over Eternal Peace 1039: 690: 644:Over Eternal Peace 537: 390:Konstantin Korovin 347: 335:Konstantin Korovin 296: 271: 218:Udomelsky District 98:landscape painting 96:is a chrestomatic 3507:Tretyakov Gallery 3484: 3483: 3436:Fresh Wind. Volga 3358:Малахова, Ирина. 3342:Дружинкина, Н.Г. 3288:978-5-8042-0271-3 3222:978-5-93332-565-9 3022:978-5-93488-212-0 2922:978-5-89580-106-2 2906:глазами зрителей" 2883:978-5-4475-7816-9 2864:978-5-7300-0847-2 2772:978-5-87107-188-5 2625:978-5-89580-105-5 2508:, pp. 31–32. 2401:, pp. 30–34) 2324:Коваленская (1983 2287:, pp. 93–94) 1907:Захаренкова (2010 1895:Захаренкова (2010 970:Konstantin Yuon's 887:Alexei Savrasov's 880:Fyodor Vasilyev's 740:Alexei Savrasov's 653:Tretyakov Gallery 428:Ferns in a Forest 419:Fresh Wind. Volga 267:Autumn. The Manor 249:Autumn. The Manor 169:Spring. Big Water 164:Fresh Wind. Volga 89: 88: 3519: 3497:Russian painters 3476: 3475: 3398: 3391: 3384: 3375: 3370: 3368: 3367: 3354: 3352: 3351: 3338: 3336: 3335: 3323: 3321: 3320: 3301: 3292: 3280: 3272: 3266: 3256: 3244: 3235: 3226: 3207: 3195: 3176: 3163: 3162:(1413): 230–231. 3150: 3144: 3134: 3115: 3102: 3093: 3084: 3075: 3066: 3057: 3048: 3035: 3026: 3013:Vyshny Volochyok 3007: 3003: 2993: 2970: 2945: 2926: 2910: 2905: 2896: 2887: 2868: 2849: 2830: 2828: 2824: 2813: 2804: 2795: 2776: 2757: 2744: 2735: 2716: 2707: 2694: 2673: 2664: 2658: 2648: 2629: 2613: 2608: 2599: 2588: 2577: 2560: 2554: 2548: 2542: 2536: 2535: 2527: 2521: 2518:Лясковская (1966 2515: 2509: 2503: 2497: 2491: 2485: 2482:Сарабьянов (1989 2479: 2473: 2468: 2459: 2453: 2444: 2438: 2429: 2423: 2414: 2408: 2402: 2396: 2390: 2384: 2375: 2369: 2363: 2357: 2351: 2345: 2339: 2333: 2327: 2321: 2315: 2309: 2303: 2297: 2288: 2282: 2276: 2270: 2264: 2258: 2252: 2246: 2240: 2234: 2228: 2222: 2216: 2210: 2204: 2198: 2192: 2186: 2180: 2174: 2168: 2162: 2151: 2145: 2136: 2130: 2124: 2118: 2112: 2106: 2100: 2099: 2097: 2096: 2081: 2075: 2074: 2072: 2071: 2056: 2050: 2049: 2047: 2046: 2030: 2024: 2023: 2021: 2020: 2004: 1998: 1997: 1995: 1994: 1979: 1973: 1967: 1958: 1952: 1946: 1940: 1934: 1928: 1922: 1916: 1910: 1904: 1898: 1892: 1886: 1880: 1874: 1868: 1862: 1856: 1850: 1844: 1835: 1829: 1823: 1817: 1811: 1805: 1799: 1793: 1787: 1781: 1772: 1767: 1761: 1755: 1749: 1743: 1732: 1726: 1717: 1711: 1705: 1699: 1693: 1687: 1678: 1677: 1675: 1674: 1658: 1652: 1646: 1640: 1634: 1628: 1622: 1616: 1610: 1601: 1596: 1585: 1579: 1573: 1572: 1570: 1569: 1554: 1548: 1542: 1536: 1530: 1524: 1518: 1512: 1511: 1509: 1508: 1493: 1474: 1473: 1471: 1470: 1455: 1449: 1444: 1435: 1429: 1420: 1414: 1403: 1397: 1388: 1387: 1385: 1384: 1369: 1360: 1354: 1343: 1337: 1331: 1325: 1319: 1313: 1304: 1298: 1289: 1283: 1274: 1268: 1259: 1258: 1256: 1255: 1240: 1231: 1225: 1202: 1196: 1181: 1162: 1156: 1153: 1147: 1136: 1130: 1126: 1120: 1106: 1100: 1092: 1012:Moscow Courtyard 1009:Vasily Polenov's 930: 905: 809: 797: 785: 752:), the painting 448:Saint Petersburg 244:and his earlier 234:Privy Councillor 230:Tver Governorate 133:Saint Petersburg 118:Tver Governorate 31: 19: 3527: 3526: 3522: 3521: 3520: 3518: 3517: 3516: 3487: 3486: 3485: 3480: 3466: 3450: 3407: 3402: 3365: 3363: 3357: 3349: 3347: 3341: 3333: 3331: 3326: 3318: 3316: 3311: 3308: 3295: 3289: 3278: 3270: 3264: 3259: 3247: 3238: 3229: 3223: 3210: 3198: 3192: 3179: 3166: 3153: 3142: 3137: 3131: 3118: 3108:"И. И. Левитан" 3105: 3096: 3087: 3078: 3069: 3060: 3051: 3038: 3029: 3023: 3005: 3001: 2996: 2990: 2973: 2967: 2948: 2942: 2929: 2923: 2908: 2903: 2899: 2890: 2884: 2871: 2865: 2852: 2846: 2833: 2826: 2822: 2816: 2807: 2798: 2792: 2779: 2773: 2760: 2747: 2738: 2732: 2719: 2710: 2697: 2691: 2676: 2667: 2656: 2651: 2645: 2632: 2626: 2611: 2606: 2602: 2591: 2580: 2571: 2568: 2563: 2555: 2551: 2543: 2539: 2529: 2528: 2524: 2516: 2512: 2504: 2500: 2492: 2488: 2480: 2476: 2469: 2462: 2454: 2447: 2439: 2432: 2426:Минченков (2016 2424: 2417: 2409: 2405: 2397: 2393: 2385: 2378: 2370: 2366: 2358: 2354: 2346: 2342: 2336:Пилипенко (1994 2334: 2330: 2322: 2318: 2310: 2306: 2298: 2291: 2283: 2279: 2271: 2267: 2259: 2255: 2249:Лясковская 1966 2247: 2243: 2235: 2231: 2223: 2219: 2211: 2207: 2199: 2195: 2187: 2183: 2175: 2171: 2163: 2154: 2146: 2139: 2133:Пророкова (1960 2131: 2127: 2119: 2115: 2109:Петрунина (2012 2107: 2103: 2094: 2092: 2083: 2082: 2078: 2069: 2067: 2058: 2057: 2053: 2044: 2042: 2032: 2031: 2027: 2018: 2016: 2006: 2005: 2001: 1992: 1990: 1981: 1980: 1976: 1968: 1961: 1953: 1949: 1941: 1937: 1929: 1925: 1917: 1913: 1905: 1901: 1893: 1889: 1881: 1877: 1869: 1865: 1857: 1853: 1845: 1838: 1830: 1826: 1818: 1814: 1806: 1802: 1794: 1790: 1782: 1775: 1768: 1764: 1756: 1752: 1744: 1735: 1729:Пророкова (1960 1727: 1720: 1712: 1708: 1700: 1696: 1688: 1681: 1672: 1670: 1660: 1659: 1655: 1647: 1643: 1635: 1631: 1623: 1619: 1611: 1604: 1599:Подушков (2009) 1597: 1588: 1580: 1576: 1567: 1565: 1556: 1555: 1551: 1543: 1539: 1531: 1527: 1519: 1515: 1506: 1504: 1495: 1494: 1477: 1468: 1466: 1457: 1456: 1452: 1445: 1438: 1430: 1423: 1415: 1406: 1398: 1391: 1382: 1380: 1371: 1370: 1363: 1355: 1346: 1338: 1334: 1326: 1322: 1314: 1307: 1299: 1292: 1286:Рогинская (1989 1284: 1277: 1269: 1262: 1253: 1251: 1242: 1241: 1234: 1226: 1205: 1197: 1193: 1189: 1184: 1163: 1159: 1154: 1150: 1140:Julian calendar 1137: 1133: 1127: 1123: 1107: 1103: 1097:Vyshny Volochok 1093: 1089: 1085: 980:Mikhail Alpatov 949: 948: 947: 946: 945: 934:Konstantin Yuon 931: 923: 922: 906: 871: 817: 816: 815: 814: 813: 810: 802: 801: 798: 790: 789: 786: 777: 776: 676:Alexei Savrasov 666:Mikhail Alpatov 661: 521:. Tretyakovs'. 491:Pavel Tretyakov 487:Nizhny Novgorod 406: 290:(sketch, 1895, 286:Isaac Levitan. 214: 209: 197:Konstantin Yuon 149:Pavel Tretyakov 145:Nizhny Novgorod 17: 12: 11: 5: 3525: 3523: 3515: 3514: 3509: 3504: 3499: 3489: 3488: 3482: 3481: 3471: 3468: 3467: 3465: 3464: 3458: 3456: 3452: 3451: 3449: 3448: 3440: 3432: 3424: 3415: 3413: 3409: 3408: 3403: 3401: 3400: 3393: 3386: 3378: 3372: 3371: 3355: 3339: 3324: 3307: 3306:External links 3304: 3303: 3302: 3293: 3287: 3277:: ООМИИ имени 3257: 3245: 3236: 3227: 3221: 3208: 3196: 3190: 3177: 3164: 3158:(in Russian). 3151: 3135: 3129: 3116: 3103: 3094: 3085: 3076: 3067: 3058: 3049: 3043:(in Russian). 3036: 3027: 3021: 3015:: Ирида-прос. 3011:(in Russian). 2994: 2988: 2971: 2965: 2955:(in Russian). 2946: 2940: 2927: 2921: 2904:И. И. Левитана 2897: 2888: 2882: 2869: 2863: 2850: 2844: 2831: 2814: 2805: 2796: 2790: 2777: 2771: 2758: 2745: 2736: 2730: 2717: 2708: 2695: 2689: 2674: 2665: 2649: 2643: 2630: 2624: 2607:И. И. Левитана 2600: 2589: 2578: 2567: 2564: 2562: 2561: 2557:Иогансон (1970 2549: 2547:, p. 126) 2545:Мальцева (1968 2537: 2522: 2520:, p. 125) 2510: 2498: 2496:, p. 205) 2486: 2474: 2460: 2458:, p. 137) 2456:Филиппов (2003 2445: 2430: 2415: 2413:, p. 238) 2403: 2391: 2389:, p. 260) 2387:Лужецкая (1965 2376: 2374:, p. 296) 2364: 2362:, p. 206) 2352: 2350:, p. 222) 2340: 2328: 2326:, p. 146) 2316: 2314:, p. 204) 2304: 2302:, p. 202) 2289: 2277: 2265: 2253: 2251:, p. 125. 2241: 2229: 2227:, p. 260. 2217: 2205: 2193: 2181: 2169: 2152: 2137: 2135:, p. 159) 2125: 2113: 2111:, p. 616) 2101: 2076: 2051: 2025: 1999: 1974: 1972:, p. 471) 1959: 1957:, p. 463) 1947: 1935: 1933:, p. 161) 1931:Подушков (2018 1923: 1921:, p. 523) 1911: 1909:, p. 220) 1899: 1887: 1875: 1873:, p. 231) 1863: 1851: 1849:, p. 227) 1836: 1824: 1822:, p. 407) 1812: 1800: 1798:, p. 178) 1788: 1786:, p. 104) 1773: 1762: 1758:Пророкова 1989 1750: 1733: 1731:, p. 160) 1718: 1716:, p. 202) 1706: 1702:Подушков (2014 1694: 1690:Подушков (2018 1679: 1653: 1641: 1629: 1617: 1613:Подушков (2014 1602: 1586: 1582:Королёва (2009 1574: 1549: 1547:, p. 108) 1537: 1525: 1513: 1475: 1450: 1436: 1432:Мальцева (2002 1421: 1419:, p. 536) 1404: 1402:, p. 146) 1389: 1361: 1344: 1342:, p. 533) 1332: 1320: 1305: 1290: 1288:, p. 419) 1275: 1273:, p. 485) 1260: 1232: 1230:, p. 362) 1203: 1190: 1188: 1185: 1183: 1182: 1157: 1148: 1144:Russian Empire 1131: 1121: 1101: 1086: 1084: 1081: 1068:Boris Ioganson 965:February Azure 951:Art historian 932: 925: 924: 914:February Azure 907: 900: 899: 898: 897: 896: 870: 867: 840:The paintings 834:light and dark 811: 804: 803: 799: 792: 791: 787: 780: 779: 778: 771: 770: 769: 768: 742:famous canvas 660: 657: 503:Russian Empire 405: 402: 213: 210: 208: 205: 87: 86: 77: 73: 72: 69: 65: 64: 55: 51: 50: 47: 43: 42: 37: 33: 32: 24: 23: 15: 13: 10: 9: 6: 4: 3: 2: 3524: 3513: 3510: 3508: 3505: 3503: 3500: 3498: 3495: 3494: 3492: 3479: 3469: 3463: 3460: 3459: 3457: 3453: 3446: 3445: 3441: 3438: 3437: 3433: 3430: 3429: 3428:Evening Bells 3425: 3422: 3421: 3417: 3416: 3414: 3410: 3406: 3405:Isaac Levitan 3399: 3394: 3392: 3387: 3385: 3380: 3379: 3376: 3361: 3356: 3345: 3340: 3329: 3325: 3314: 3310: 3309: 3305: 3299: 3294: 3290: 3284: 3279:М. А. Врубеля 3276: 3269: 3268: 3265:М. А. Врубеля 3258: 3254: 3250: 3246: 3242: 3237: 3233: 3228: 3224: 3218: 3214: 3209: 3205: 3201: 3197: 3193: 3191:5-900743-56-X 3187: 3183: 3178: 3174: 3173:Наше наследие 3170: 3165: 3161: 3157: 3152: 3148: 3141: 3136: 3132: 3130:5-7793-0577-3 3126: 3122: 3117: 3113: 3109: 3104: 3100: 3095: 3091: 3086: 3082: 3077: 3073: 3068: 3064: 3059: 3055: 3050: 3046: 3042: 3037: 3033: 3028: 3024: 3018: 3014: 3010: 3009: 3002:И. И. Левитан 2995: 2991: 2989:9785897292141 2985: 2981: 2977: 2972: 2968: 2966:9785915040082 2962: 2958: 2954: 2953: 2947: 2943: 2941:5-7370-0315-9 2937: 2933: 2928: 2924: 2918: 2914: 2907: 2898: 2894: 2889: 2885: 2879: 2875: 2870: 2866: 2860: 2856: 2851: 2847: 2845:9785210013484 2841: 2837: 2832: 2823:И. И. Левитан 2820: 2815: 2811: 2806: 2802: 2797: 2793: 2791:5-88896-051-9 2787: 2783: 2782:Исаак Левитан 2778: 2774: 2768: 2764: 2759: 2755: 2751: 2746: 2742: 2737: 2733: 2731:5-7793-0334-7 2727: 2723: 2718: 2714: 2709: 2705: 2701: 2696: 2692: 2690:9785953311250 2686: 2682: 2681: 2675: 2671: 2666: 2662: 2655: 2650: 2646: 2644:5-06-003705-3 2640: 2636: 2631: 2627: 2621: 2617: 2610: 2601: 2597: 2596: 2590: 2586: 2585: 2579: 2575: 2570: 2569: 2565: 2558: 2553: 2550: 2546: 2541: 2538: 2533: 2526: 2523: 2519: 2514: 2511: 2507: 2502: 2499: 2495: 2490: 2487: 2483: 2478: 2475: 2472: 2467: 2465: 2461: 2457: 2452: 2450: 2446: 2443:, p. 15) 2442: 2441:Круглов (2001 2437: 2435: 2431: 2427: 2422: 2420: 2416: 2412: 2411:Левитан (1956 2407: 2404: 2400: 2395: 2392: 2388: 2383: 2381: 2377: 2373: 2368: 2365: 2361: 2356: 2353: 2349: 2344: 2341: 2338:, p. 74) 2337: 2332: 2329: 2325: 2320: 2317: 2313: 2308: 2305: 2301: 2296: 2294: 2290: 2286: 2281: 2278: 2274: 2269: 2266: 2263:, p. 31. 2262: 2261:Мальцева 2002 2257: 2254: 2250: 2245: 2242: 2238: 2233: 2230: 2226: 2225:Лужецкая 1965 2221: 2218: 2215:, p. 25. 2214: 2209: 2206: 2203:, p. 90. 2202: 2197: 2194: 2191:, p. 93. 2190: 2185: 2182: 2178: 2173: 2170: 2167:, p. 25) 2166: 2165:Алпатов (1945 2161: 2159: 2157: 2153: 2150:, p. 90) 2149: 2144: 2142: 2138: 2134: 2129: 2126: 2123:, p. 93) 2122: 2117: 2114: 2110: 2105: 2102: 2091:on 2021-08-06 2090: 2086: 2080: 2077: 2066:on 2017-05-04 2065: 2061: 2055: 2052: 2041:on 2015-10-03 2040: 2036: 2029: 2026: 2015:on 2018-04-02 2014: 2010: 2003: 2000: 1989:on 2021-01-23 1988: 1984: 1978: 1975: 1971: 1966: 1964: 1960: 1956: 1951: 1948: 1945:, p. 32) 1944: 1943:Горелов (1982 1939: 1936: 1932: 1927: 1924: 1920: 1915: 1912: 1908: 1903: 1900: 1896: 1891: 1888: 1885:, p. 16) 1884: 1883:Круглов (2001 1879: 1876: 1872: 1867: 1864: 1860: 1855: 1852: 1848: 1843: 1841: 1837: 1834:, p. 15) 1833: 1832:Киселёв (2001 1828: 1825: 1821: 1820:Алленов (1989 1816: 1813: 1809: 1804: 1801: 1797: 1792: 1789: 1785: 1780: 1778: 1774: 1771: 1766: 1763: 1760:, p. 29. 1759: 1754: 1751: 1747: 1742: 1740: 1738: 1734: 1730: 1725: 1723: 1719: 1715: 1710: 1707: 1704:, p. 51) 1703: 1698: 1695: 1692:, p. 51) 1691: 1686: 1684: 1680: 1669:on 2016-03-04 1668: 1664: 1657: 1654: 1651:, p. 67) 1650: 1645: 1642: 1639:, p. 67. 1638: 1633: 1630: 1626: 1625:Подушков 2009 1621: 1618: 1614: 1609: 1607: 1603: 1600: 1595: 1593: 1591: 1587: 1583: 1578: 1575: 1564:on 2015-04-02 1563: 1559: 1553: 1550: 1546: 1541: 1538: 1535:, p. 51. 1534: 1533:Подушков 2018 1529: 1526: 1522: 1521:Подушков 2014 1517: 1514: 1503:on 2013-02-11 1502: 1498: 1492: 1490: 1488: 1486: 1484: 1482: 1480: 1476: 1465:on 2012-12-25 1464: 1460: 1454: 1451: 1448: 1447:Ионина (2006) 1443: 1441: 1437: 1434:, p. 31) 1433: 1428: 1426: 1422: 1418: 1413: 1411: 1409: 1405: 1401: 1400:Левитан (1956 1396: 1394: 1390: 1379:on 2016-07-08 1378: 1374: 1368: 1366: 1362: 1358: 1357:Иовлева (2010 1353: 1351: 1349: 1345: 1341: 1336: 1333: 1329: 1328:Прытков (1960 1324: 1321: 1318:, p. 69) 1317: 1312: 1310: 1306: 1303:, p. 54) 1302: 1301:Левитан (1966 1297: 1295: 1291: 1287: 1282: 1280: 1276: 1272: 1267: 1265: 1261: 1250:on 2015-09-25 1249: 1245: 1239: 1237: 1233: 1229: 1224: 1222: 1220: 1218: 1216: 1214: 1212: 1210: 1208: 1204: 1201:, p. 72) 1200: 1199:Стернин (2009 1195: 1192: 1186: 1179: 1175: 1171: 1167: 1161: 1158: 1152: 1149: 1145: 1141: 1135: 1132: 1125: 1122: 1118: 1117: 1112: 1111:Kuvshinnikova 1105: 1102: 1098: 1091: 1088: 1082: 1080: 1078: 1074: 1069: 1064: 1061: 1057: 1052: 1049: 1044: 1036: 1035:postage stamp 1033: 1029: 1026:The painting 1024: 1020: 1017: 1013: 1010: 1006: 1001: 999: 994: 989: 986:of Levitan's 985: 981: 976: 974: 971: 967: 966: 962: 961:Igor Grabar's 958: 954: 943: 939: 935: 929: 920: 916: 915: 910: 904: 895: 894: 892: 888: 884: 881: 877: 868: 866: 864: 860: 855: 851: 850:Impressionism 847: 846:Golden Autumn 843: 838: 835: 831: 827: 822: 808: 796: 784: 775: 767: 764: 760: 755: 751: 747: 746: 741: 736: 734: 730: 726: 721: 715: 712: 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Retrieved 3348:. Retrieved 3332:. Retrieved 3317:. Retrieved 3297: 3262: 3248: 3240: 3231: 3212: 3199: 3181: 3172: 3159: 3155: 3146: 3120: 3111: 3098: 3089: 3080: 3071: 3062: 3053: 3040: 3031: 2999: 2979: 2959:: СФК-офис. 2951: 2931: 2912: 2892: 2873: 2854: 2835: 2818: 2809: 2800: 2781: 2762: 2753: 2740: 2721: 2712: 2703: 2679: 2669: 2660: 2634: 2615: 2594: 2583: 2573: 2566:Bibliography 2559:, p. 5) 2552: 2540: 2531: 2525: 2513: 2506:Горелов 1982 2501: 2489: 2477: 2471:Чурак (2010) 2428:, p. 4) 2406: 2394: 2367: 2355: 2348:Ильина (2000 2343: 2331: 2319: 2307: 2285:Петров (1992 2280: 2268: 2256: 2244: 2232: 2220: 2213:Алпатов 1945 2208: 2196: 2184: 2179:, p. 9. 2177:Прытков 1960 2172: 2148:Турков (1974 2128: 2121:Петров (1992 2116: 2104: 2093:. Retrieved 2089:the original 2079: 2068:. Retrieved 2064:the original 2054: 2043:. Retrieved 2039:the original 2028: 2017:. Retrieved 2013:the original 2002: 1991:. Retrieved 1987:the original 1977: 1950: 1938: 1926: 1914: 1902: 1890: 1878: 1866: 1854: 1827: 1815: 1803: 1791: 1765: 1753: 1748:, chapter 2) 1709: 1697: 1671:. Retrieved 1667:the original 1656: 1649:Чижмак (2010 1644: 1632: 1620: 1577: 1566:. Retrieved 1562:the original 1552: 1540: 1528: 1516: 1505:. Retrieved 1501:the original 1467:. Retrieved 1463:the original 1453: 1381:. Retrieved 1377:the original 1359:, p. 5) 1335: 1330:, p. 9) 1323: 1316:Чижмак (2010 1252:. Retrieved 1248:the original 1194: 1177: 1173: 1169: 1160: 1151: 1134: 1124: 1114: 1104: 1090: 1076: 1072: 1065: 1059: 1055: 1053: 1047: 1042: 1040: 1027: 1011: 1004: 1002: 992: 987: 977: 972: 963: 950: 937: 912: 889: 882: 875: 872: 862: 858: 853: 845: 841: 839: 829: 820: 818: 773: 762: 758: 753: 743: 737: 724: 716: 691: 679: 662: 648: 642: 636: 632: 629:opinion poll 626: 617: 576: 574: 565: 561: 549: 538: 529: 498: 494: 478: 476: 471: 467: 439: 435: 431: 427: 423: 417: 413: 412:, including 407: 397: 392:(now in the 385: 381: 379: 374: 369:(now in the 366: 358: 356: 351: 348: 338: 324: 321:en plein air 312: 310: 303: 297: 287: 272: 266: 248: 241: 215: 200: 187: 181: 172: 168: 167:(1895), and 162: 158: 154: 153: 136: 124: 122: 92: 91: 90: 3006:А. П. Чехов 3004:и писатель 2372:Манин (2012 2201:Турков 1974 2189:Петров 1992 1871:Чуйко (1896 1637:Чижмак 2010 998:forest edge 955:noted that 909:Igor Grabar 863:Birch Grove 757:Savrasov's 702:birch trees 659:Description 638:At the Pool 622:Vladivostok 614:Krymsky Val 222:Tver Oblast 193:Igor Grabar 3491:Categories 3420:Vladimirka 3366:2021-08-08 3350:2021-08-09 3334:2021-08-08 3319:2015-03-31 2902:"Выставка 2095:2021-08-06 2070:2021-08-06 2045:2021-08-06 2019:2021-08-18 1993:2021-07-18 1673:2019-05-13 1568:2015-03-31 1507:2019-11-16 1469:2015-03-30 1383:2019-05-13 1254:2019-05-13 1187:References 694:pine trees 570:revolution 68:Dimensions 3412:Paintings 3204:Leningrad 3045:Yaroslavl 1746:Кац (1983 1051:nature." 1016:plein air 973:March Sun 938:March Sun 706:birdhouse 589:Leningrad 581:Levitan's 238:mezzanine 3478:Category 2704:Художник 729:frescoes 436:Nenuphar 432:Twilight 375:Nenuphar 161:(1895), 76:Location 3455:Related 3447:(1890s) 3253:Kharkiv 3032:Левитан 2584:Левитан 1037:of 1960 1030:on the 1007:, like 957:Levitan 940:(1915, 917:(1904, 869:Reviews 748:(1871, 711:shutter 684:(1871, 507:Kharkiv 410:Levitan 341:(1894, 317:studies 228:of the 220:of the 207:History 3439:(1895) 3431:(1892) 3423:(1892) 3285: 3219: 3188: 3127: 3019: 2986: 2963: 2938: 2919: 2880: 2861: 2842: 2827:book 1 2788: 2769: 2728: 2687: 2641: 2622: 1174:Warmed 1073:March. 982:, the 720:crowns 698:aspens 597:London 591:, and 558:barren 472:Spring 452:Moscow 434:, and 398:Winter 386:Winter 373:) and 339:Winter 276:pogost 246:pastel 110:Moscow 84:Moscow 62:canvas 54:Medium 36:Artist 3271:(PDF) 3143:(PDF) 2909:(PDF) 2657:(PDF) 2612:(PDF) 1178:March 1170:March 1083:Notes 1077:March 1060:March 1056:March 1048:March 1043:March 1028:March 1005:March 993:March 988:March 876:March 859:March 854:March 842:March 830:March 826:glaze 821:March 774:March 763:March 759:Rooks 754:March 733:ochre 725:March 649:March 633:March 618:March 602:Minsk 577:March 566:March 562:March 550:March 542:guild 530:March 495:March 479:March 468:March 440:March 382:March 352:March 325:March 313:March 242:March 201:March 188:March 173:March 155:March 137:March 125:March 93:March 22:March 3444:Lake 3283:ISBN 3275:Omsk 3217:ISBN 3186:ISBN 3125:ISBN 3017:ISBN 2984:ISBN 2961:ISBN 2957:Tver 2936:ISBN 2917:ISBN 2878:ISBN 2859:ISBN 2840:ISBN 2786:ISBN 2767:ISBN 2726:ISBN 2685:ISBN 2639:ISBN 2620:ISBN 1138:The 1032:USSR 968:and 883:Thaw 844:and 593:Kyiv 515:Tula 511:Kyiv 497:and 470:and 195:and 49:1895 46:Year 1000:." 885:or 700:or 396:). 143:in 116:of 108:in 60:on 58:Oil 3493:: 3281:. 3273:. 3251:. 3202:. 3171:. 3160:55 3145:. 3110:. 2978:. 2911:. 2821:. 2752:. 2702:. 2659:. 2614:. 2463:^ 2448:^ 2433:^ 2418:^ 2379:^ 2292:^ 2155:^ 2140:^ 1962:^ 1839:^ 1776:^ 1736:^ 1721:^ 1682:^ 1605:^ 1589:^ 1478:^ 1439:^ 1424:^ 1407:^ 1392:^ 1364:^ 1347:^ 1308:^ 1293:^ 1278:^ 1263:^ 1235:^ 1206:^ 975:. 936:. 911:. 678:. 624:. 430:, 426:, 422:, 416:, 337:. 265:. 255:. 120:. 82:, 3397:e 3390:t 3383:v 3369:. 3353:. 3337:. 3322:. 3291:. 3225:. 3194:. 3133:. 3025:. 2992:. 2969:. 2944:. 2925:. 2886:. 2867:. 2848:. 2794:. 2775:. 2734:. 2693:. 2647:. 2628:. 2098:. 2073:. 2048:. 2022:. 1996:. 1676:. 1627:. 1571:. 1510:. 1472:. 1386:. 1257:. 1180:. 1146:. 944:) 921:) 893:. 688:) 519:S 345:) 294:)

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