Who painted the picture March. Levitan's painting "March", painted with love and sunlight itself

Option 1. 3-4 grade

In the painting “March” we see the very beginning of spring. The sun shines brightly. The snow begins to melt. It became loose and trampled. In some places the ground is already visible on the road.

In the courtyard of a wooden house there is a horse with an empty sleigh. The house is surrounded by trees. These are white birches and evergreen spruces.

Option 2. 6-7 grade

Isaac Levitan’s painting “March” depicts the time of the arrival of spring. It is a sunny March day among Russian nature. We see the courtyard of a two-story wooden house surrounded by trees. Maybe this is a house in some forestry.

The house has a canopy porch on four posts, and there is still snow on the canopy. Trees rise around: thin birches and evergreen pines with spreading crowns. They cast clear shadows on the snow that appear blue.

The sky is already bright blue. Snow is melting. It became soft and crumbly. The picture shows that the snow around the house has already been dug up and trampled by people and carts. In some places where it was trampled on the most, it has already come off, and damp brown earth is visible.

Little white birch trees still stand without leaves. More precisely, in some places red leaves from last year still hang on them. At the top of one of the birches there is a white birdhouse. It won't be long before it will be inhabited by feathered residents.

In the yard there is a red horse harnessed to a wooden sleigh. The light wall of the house is in harmony with the snow-white trunks of birch trees. In general, the colors in the picture, although they are quite dim, are incredibly compatible with each other. These are white, red-brown, dark green, blue. And the trunks of birch trees stretching towards the sun also create a unique beautiful drawing lines in the picture. Isaac Levitan is truly an unsurpassed master of depicting Russian landscapes.

Probably, M. Alpatov’s descriptions of Levitan’s landscapes are the most complete and interesting. But either Alpatov is unaware of the metaphorical meaning of the picture, or does not want to delve into its essence (most likely the first), but he did not reveal the meaning of the work. Some important details of the painting were not captured by the art critic, did not attract his attention, and as a result did not find their way into the idea of ​​the painting.

"Creating this picture, Levitan lay in wait for a particularly touching moment in our life northern nature: bright eve before the onset of spring. In the forest, among the trees, there is still deep snow, the air is still frozen with frost, the trees are still bare, even the first spring guests, rooks and starlings, have not appeared in our area.

(A very important inaccuracy: it is cold in the forest and the snow is untouched by warmth, but “not a single tree has shed its leaves in the fall”).

But the sun is already warming up in the heat, the snow sparkles dazzlingly in its rays, the shadows are filled with a lilac blue, swollen buds are already noticeable on bare branches against the sky, the approach of warm days is felt in the air - everything portends spring; all nature, all objects - “everything is permeated with expectation.” This state of expectation is expressed in its own way by the humble village horse with a sleigh, which stands, motionless, on the warm porch and patiently waits for its owner.”

There is no waiting in any subject. This remark does not seem very significant, however, it allows us to enter into the picture. The horse is not waiting for its owner: its whole body is in the warm light, its eyes are blinded by the sun, and it has covered them with its eyelids. There are multi-colored circles before his eyes, a warm fog spreads over his head, and the horse has completely disconnected from everything around him.

“The construction of “March” is distinguished by exceptional simplicity, clarity and accuracy. The edge of a wooden house with its boards extending into the depths of the picture, as well as a wide strip of thawed road, draw the viewer into the picture, help to mentally enter into it, but from most of Levitan’s other landscapes “March” is distinguished by a more closed, cozy character; the movement inward is somewhat weakened by the lines of slenderly curved, fan-shaped white trunks that, tremblingly bending, stand out against the blue sky and against the dark coniferous greenery. The “horizontal edge” of the snow field divides the picture into two equal ones. parts and brings a touch of calm to it. These simple relationships of lines are not intrusive: everything seems simple, natural and even uncomplicated, and yet the highlighting of these compositional lines gives completeness and completeness to the modest corner.”

It is unlikely that the short wall of the house and the porch contribute to involvement in the picture. But it seems that the artist does not expect the viewer to enter the picture: he immediately puts in front of us a square of a yard, bounded by snow on the left, a wall of a house on the right, a horse and bare trees with converging peaks behind it.

Alpatov notes the most essential element of the picture - the horizontal edge of the field, which divides the picture in half. It is logical now to compare the resulting two parts of the picture, but the researcher does not do this. In the front part there is a warm languor: a heated yellow wall of a wooden house, warm yellow parts of the porch, a heated porch roof and melting snow on it, a warm brown road, a limp horse, warm snow and naked trees fanned out in the sun. We see something completely different in the back half: dark gloomy trees do not rejoice in the sun, birches have not dropped their leaves in the pre-winter period, snow is undisturbed by anything and there are cold blue shadows on it.

From here simple idea paintings. Not everything to new spring survived the old age and was freed from it. Not everyone managed to throw off the burden of accumulated burdens and worries and prepare for “renewal, revival”, to be ready to start building something new. The time was lost when everything greedily grabbed every minute of existence, every grain of moisture, warmth and light, swelled, hurried to bloom and bear fruit. Perhaps the thicket of the forest, poor soil, lack of moisture did not allow us to use the allotted time, the first cold froze life: the trees did not have time to bloom and finish life cycle. The rhythm of life and its natural flow are disrupted. Therefore, the forest tree does not rejoice in the new sun and new warmth.

If human life divided into several periods, then the words of Pushkin can be conventionally attributed to each of them: “Blessed is he who was young from his youth, blessed is he who matured in time...” Everything has its time and it is necessary to use it fruitfully. Otherwise - life tragedies, poor, joyless lives.
S. Sandomirsky

In 1860, a boy was born in the Lithuanian city of Kybartai, who later became a unique modernist artist. He was named Isaac, and inherited the surname Levitan from his father. At the age of 10, he moved to Moscow with his family, and since then the spirit of Russia has not left any of his paintings.

That is why it is customary to consider him an exclusively Russian artist, despite the fact that he was born in another country and had Lithuanian roots. Isaac graduated from the Moscow School of Painting, Sculpture and Architecture in 1885 and for another five years painted exclusively landscapes, in which one could feel an impeccable love for nature - sometimes melancholic, sometimes hysterical, but always sincere and pure.

"March"

Levitan's painting "March" was painted entirely from life, without the use of sketch strokes. She is considered one of the most famous paintings artist and occupies a special place in Tretyakov Gallery. The description of Levitan’s painting “March” allows you to feel the mood of the master and carry out the analysis in more detail. At first glance, it seems that there is nothing special on the canvas - a hut, in a sleigh, and a forest, the trees of which cast their bluish shadow on the melted snow. If you look closely and stand for a moment on that same wet snow, you will notice many little things that make up great spirit nature, painstakingly conveyed with the love of the author.

Description of the picture

Isaac Levitan's painting “March” literally has Chekhovian detail - it does not depict anything superfluous. This is a small bright birdhouse waiting for the arrival of swifts, and a blinding blue sky, whose radiance intensifies from white snow, and the open doors of a wooden house, symbolizing the arrival of spring, and wet earth breaking through thin layer snow, and the snow itself, which has long ceased to be white, is as if from last bit of strength lingers on the surface of the earth under the force of the warm sun, which makes it seem heavy, and the shock of it on the roof of the porch is about to fall, unable to withstand the weight of the already melted water. Levitan's painting "March" was the first canvas on which snow was painted so realistically and truthfully. It is also surprising that Isaac wrote very rarely before this work, preferring the warm seasons, when the blossoming nature reached its apogee.

Forest

Undoubtedly, loud discussions were caused by the work that Levitan wrote - “March”; the description of the painting was always varied, which spoke of its uniqueness; each one retained a special note of mood. However, when mentioning the painting, few people paid attention to the forest depicted in it. This kind of symbolism has not existed before, which only once again emphasizes the impeccability of talent. It is no coincidence that in the background the trees are darker, and closer to the center they are light, thin, stretching towards spring sun. Levitan's painting "March" encodes a cold and gloomy winter behind the forest, deliberately removing it into the distance, which indicates the onset of spring - confirmation can be fresh birch branches, illuminated by the sun, on which a white birdhouse is firmly held. The branches seem to merge with the sky, personifying the unity and strength of nature.

House color scheme

Levitan's painting "March", as mentioned above, is imbued with symbolism. First of all, it is reflected in color scheme. If you look at a house whose walls are painted a light yellowish-brown color, you can judge the birth of a new life, since yellow considered the color of the sun, peace and nature. The doors of the house are wide open, as if letting out the annoying winter cold and welcoming the arrival of spring. This suggests that not only nature comes to life, but also the way of life of people; the bright warm colors of oil on canvas represent the house as a bundle of joy and comfort. Despite the fact that the house is not located in the center, but is located to the right of the central part, it is one of the main key fragments of the canvas.

Color of birdhouse and snow

The fact that the snow in the picture is special has already been said above. His performance left behind real school skill for Russian artists. In the background, the snow has a bluish tint, which again is a reflection of cold and winter, but in foreground the snow is white, mixed with clay, indicating not just the passing of one season, but also the merging of two. If you look closely at the picture, you will notice the same shades of color between the snow in the foreground and the birdhouse on the tree. On the one hand, this is the disappearance of one thing, the interpretation of this can be seen precisely in places where the snow merges with the ground, and on the other, the beginning of a new one, that new one that has practically taken a leading position in the form of a birdhouse merging with the sky. V in this case- the color of the leading, governing niche, and spring here occupies a higher position than the outgoing winter.

Story

There is no doubt about the genius of the canvas that Isaac Levitan painted - “March”. The description of the painting is the best confirmation of this. After the painting was published, many landscape artists tried to copy the author’s technique and style, thereby learning the skills of painting “cold nature.” The painting has become a kind of Russian painting, which has not yet lost its relevance and aesthetic value. It is known that the author painted the picture during a period of intense love and who knows, maybe this is what contributed to the creation of a light and major canvas, imbued with pathos and sensuality.

The painting was painted by Levitan in March 1895, when he lived in the Gorka estate in the Tver province. It was exhibited at exhibitions in 1896, and in the same year it was purchased by Pavel Tretyakov.

The painting “March” is considered one of the most famous and striking examples of Levitan’s landscape heritage. It also serves as an example of the influence of impressionism on the artist's work.

This life-affirming landscape, combining a picturesque image of snow, spring sky and trees, is considered a “discovery in Russian landscape painting" Subsequently, this motif became a popular theme among many Russian landscape painters of the 20th century - Igor Grabar, Konstantin Yuon and others.

In 1894-1895, Levitan lived for several months in the Gorka estate, located one and a half kilometers from the village of Ostrovno, at that time located on the territory of the Vyshnevolotsky district of the Tver province, and now part of the Udomelsky district of the Tver region. The estate belonged to Privy Councilor Ivan Nikolaevich Turchaninov, and his wife Anna Nikolaevna and her daughters Varvara, Sophia and Anna often spent time there. The main building of the estate was two-storey house with mezzanine, painted yellowish. It is he who is depicted in the painting “March”, as well as in Levitan’s earlier pastel “Autumn. Estate" (1894), which is currently part of the Omsk collection regional museum fine arts named after M.A. Vrubel.
Levitan met Anna Nikolaevna Turchaninova in the summer of 1894 in Ostrovno, where he was staying at the Ushakov estate with his companion, the artist Sofia Kuvshinnikova. Levitan and Turchaninova began an affair, which led to a quarrel and a break in relations with Kuvshinnikova. After this, Levitan moved to the Gorka estate and lived there in August and September 1894, and then returned there in early spring next year. Especially for him, a two-story house-workshop was built on the estate, located on the shore of the lake)