Isaac Levitan · 1860-1900
The 100 famous paintings that tell the story of Isaac Levitan
From the roads of exile to the floods of spring, Levitan has made the Russian landscape a memory, a weather and sometimes a confidence.
Levitan entered the Moscow School of Painting at thirteen and taught Alexei Savrasov to paint less a site than a state of the world. The Ambulants soon welcomed his landscapes, Pavel Tretyakov collected them and Anton Chekhov becomes his friend. From the youth parks in Plios, from the road to Vladimir to the last visions of the lake, this route follows the birth of the "mood landscape" without transforming each birch into a national monument: they already have enough to do with the wind.
Isaac Levitan
Eternal peace
- Date
- 1894
- Collection
- Tretyakov Gallery, Moscow, Moscow
- Technique or format
- Oil on canvas
Painted in 1894 after a stay on the shores of Lake Oudomlia, this landscape places a small church and its cemetery facing an almost cosmic body of water. Levitan contrasts human fragility with the immensity of the sky; the painting became one peaks of his "mood landscape", and he has no need for a character to make the silence heard.
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Isaac Levitan
Golden autumn
- Date
- 1895
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.82 × 1.26 cm
Levitan painted Golden Autumn in 1895 in the Tver region, during a surprisingly bright period of his work. The yellow birches, blue river and red lands give the season an almost festive intensity, as if autumn had decided, for once, not to act melancholy.
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Isaac Levitan
Mars
- Date
- 1895
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.6 × 0.75 cm
Made in 1895 in Gorka, Mars captures the moment when the Russian winter finally begins to give way: the snow turns blue, a door remains open and a horse waits outside the house. This clear light breaks with Levitan's usual mists and does thawing an event as serious as a theater premiere.
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Isaac Levitan
Vladimirka
- Date
- 1892
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
In 1892, Levitan discovered the road to Vladimir, formerly taken by convicts sent on foot to Siberia. The empty lane, the marker and the small silhouette of a pilgrim are enough to awaken this memory; the landscape becomes one page of history without battle, but certainly not without pain.
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Isaac Levitan
Autumn day. Sokolniki
- Date
- 1879
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
Presented in 1879 while Levitan was still a student, this painting attracted the attention of collector Pavel Tretyakov. The Woman in Black, added by Nikolai Chekhov, crosses a damp park where autumn seems to have emptied the paths a few minutes too early: a solitude that has become famous.
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Isaac Levitan
Evening call
- Date
- 1892
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.87 × 1.076 cm
The reflected bell towers and the calm river belong to a motif that Levitan worked on after his stays in Plios. Painted in 1892, the painting does not represent the sound of bells: it organizes their echoes in light, water and distance.
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Isaac Levitan
Silent monastery
- Date
- 1890
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.875 × 1.08 cm
Levitan composed this monastery in 1890 from memories of several sites in the Volga. The bridge leads the eye towards the domes without transforming the landscape into a pious postcard; Anton Chekhov will also take up this atmosphere in The Seagull.
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Isaac Levitan
The lake. La Rus'
- Date
- 1899
- Collection
- Russian Museum, Saint Petersburg
- Technique or format
- Oil on canvas, 1.49 × 2.08 cm
Levitan's last large painting, left unfinished upon his death in 1900, The Lake brings together years of studies of the Russian sky, water and villages. The clouds run above a bank strewn with churches: a broad vision of Russia, luminous but never triumphant.
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Isaac Levitan
Fresh wind. The Volga
- Date
- 1885
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.72 × 1.23 cm
Started in Plios and completed in 1895, Fresh Wind. The Volga transforms the river into a scene of movement. Barges, steam, sails and choppy water break with the expected contemplative calm; even the clouds seem to have a schedule to keep.
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Isaac Levitan
Spring. Great Waters
- Date
- 1897
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
Painted in 1897, this painting shows the spring flood which invades a birch wood. Levitan reduces almost everything to thin trunks, a boat and their reflections: the seasonal catastrophe becomes a transparent architecture, light in appearance only.
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Isaac Levitan
After the rain. Plios
- Date
- 1889
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
In 1889, after the downpour, the Volga slowly resumed its activity under a still heavy sky. Levitan grants vapors, barges and wet roofs in silvery light; Plios seems to breathe, which is already a lot to ask of a painted city.
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Isaac Levitan
Deep waters
- Date
- 1892
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 1.5 × 2.09 cm
The popular story of a drowned young woman nourishes this landscape from 1892, known in Russian as On the Edge of the Abyss. The footbridge, the dark water and the closed wood build a progressive anxiety: we advance in the painting with much less confidence than we enter it.
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Isaac Levitan
The evening. Golden folds
- Date
- 1889
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.842 × 1.42 cm
Painted in 1889, this panorama looks out over Plios from the other bank of the Volga. Evening light unifies the houses, the church and the slopes without erasing their distance; the city becomes a golden memory even before night falls.
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Isaac Levitan
Twilight. Grindstones
- Date
- 1899
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.598 × 0.846 cm
Around 1899, Levitan returned to the millstones in an almost bare canvas: a few dark volumes, a strip of sky and the humidity of the evening. Simplicity announces a modernity where the atmosphere counts more than the anecdote, and where a millstone can perfectly play the leading role.
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Isaac Levitan
La Boulaie
- Date
- 1889
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.285 × 0.5 cm
Begun in the 1880s and completed in Plios in 1889, La Boulaie is the result of extensive work on trunk rhythms and sun spots. Levitan transforms ordinary undergrowth into vibrant space, without lining up trees like overzealous soldiers.
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Isaac Levitan
Silence
- Date
- 1898
- Collection
- Russian Museum, Saint Petersburg
- Technique or format
- Oil on canvas
The trees regulate the rhythm in "Silence". Dated in 1898, "Silence" gave the weather the leading role. For "Silence", museum anchor: Russian Museum, Saint Petersburg. By its light, "Silence" goes far beyond the modesty of the motif.
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Isaac Levitan
Autumn. The road to the village
- Date
- 1877
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
The road aims into the distance in "Autumn. The road to the village". Dated in 1877, "Autumn. The road to the village" gently reverses the one who observes. For "Autumn. The road to the village", collection source: Gallery Tretyakov, Moscow. By its light, "Autumn. The road to the village" leaves the last word to the eye.
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Isaac Levitan
Portrait of Anton Chekhov
- Date
- 1885
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
The foreground remembers the season in "Portrait of Anton Chekhov". Dated 1885, "Portrait of Anton Chekhov" avoids any postcard campaign. For "Portrait of Anton Chekhov", catalog marker: Tretyakov Gallery, Moscow. Through its light, "Portrait of Anton Chekhov" hides a very cleverly regulated balance.
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Isaac Levitan
Sunny day
- Date
- 1876
- Collection
- Private collection
- Technique or format
- Oil on canvas, 0.53 × 0.407 cm
Color sets the time in "Sunny Day". Dated in 1876, "Sunny Day" gives everyday life the weight of memory. For "Sunny Day", known location: private collection. By its light, "Sunny Day" unites a real place and an interior state.
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Isaac Levitan
Evening
- Date
- 1877
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.722 × 0.533 cm
Silence depends on the composition in "Soir". Dated 1877, "Soir" expands the place thanks to the details. For "Soir", reference preserved: Tretyakov Gallery, Moscow. Through its light, "Soir" draws its poetry from accuracy.
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Isaac Levitan
Landscape with ferns, autumn in Bor
- Date
- 1894
- Collection
- Private collection
- Technique or format
- Oil on canvas, 0.62 × 0.48 cm
Light orders the pattern in "Fern Landscape, Autumn in Bor". Dated in 1894, "Fern Landscape, Autumn in Bor" makes the season almost physical. For "Fern Landscape, Autumn in Bor", collection reported: collection particular. By its light, "Landscape with ferns, autumn in Bor" extends the invention of the landscape of mood.
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Isaac Levitan
The Alps under the snow
- Date
- 1897
- Collection
- Yekaterinburg Museum of Fine Arts
- Technique or format
- Oil on canvas, 0.65 × 0.87 cm
A path casts its gaze in "The Alps under the snow". Dated in 1897, "The Alps under the snow" retains emotion in color. For "The Alps under the snow", documentary landmark: Yekaterinburg Museum of Fine Arts. By his light, "The Alps under the snow" keeps all its place silent.
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Isaac Levitan
Grove by a lake, autumn
- Date
- 1898
- Collection
- Ashmolean Museum
- Technique or format
- Oil on canvas, 0.111 × 0.151 cm
The shots deepen the view in "Lakefront Grove, Autumn". Dated in 1898, "Lakefront Grove, Autumn" opens the scene with its horizon. For "Lakefront Grove, Autumn", place of conservation: Ashmolean Museum. By its light, "Boop by a lake, autumn" makes the atmosphere immediately recognizable.
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Isaac Levitan
Landscape with a millstone
- Date
- 1886
- Collection
- warsaw National Museum
- Technique or format
- Oil on canvas, 0.155 × 0.325 cm
The sky sets the tone in "Landscape with a Grinding Wheel". Dated 1886, "Landscape with a Grinding Wheel" keeps track of a human presence. For "Landscape with a Grinding Wheel", published provenance: National Museum of Warsaw. By its light, "Landscape with a Grinding Wheel" holds a story in the clearing.
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Isaac Levitan
Gypsy camp
- Date
- 1889
- Collection
- Tartu Art Museum's painting collection
- Technique or format
- Oil on canvas, 0.298 × 0.64 cm
Water shares the composition in "Gypsy Camp". Dated 1889, "Gypsy Camp" finely grants sky, earth and water. For "Gypsy Camp", current notice: Tartu Art Museum's painting collection. Through its light, "Gypsy Camp" remains a lasting milestone on the route.
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Isaac Levitan
Dandelions
- Date
- 1889
- Collection
- Chuvashia State Museum of Fine Arts
- Technique or format
- Oil on canvas, 0.59 × 0.425 cm
The trees regulate the rhythm in "Les Dissenlits". Dated in 1889, "Les Dissenlits" entrusted the weather with the leading role. For "Les Dissenlits", museum anchor: State Museum of Fine Arts of Chuvashia. By its light, "Les Dandelions" goes far beyond the modesty of the motif.
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Isaac Levitan
Water lilies
- Date
- 1895
- Collection
- Private collection
- Technique or format
- Oil on canvas
The road aims into the distance in "Nénuphars". Dated in 1895, "Nénuphars" gently reverses the one who observes. For "Nénuphars", collection source: private collection. Through its light, "Nénuphars" leaves the last word to the eye.
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Isaac Levitan
Bridge at the Sloboda in Savvinskaya
- Date
- 1884
- Collection
- Private collection
- Technique or format
- Oil on canvas
The foreground remembers the season in "Savvinskaya Sloboda Bridge". Dated in 1884, "Savvinskaya Sloboda Bridge" avoids any postcard campaign. For "Savvinskaya Sloboda Bridge", catalog marker: private collection. By its light, "Savvinskaya Sloboda Bridge" hides a very cleverly regulated balance.
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Isaac Levitan
Before the storm
- Date
- 1879
- Collection
- nizhny Novgorod Museum of Fine Arts
- Technique or format
- Oil on canvas
Color sets the time in "Before the Storm". Dated in 1879, "Before the Storm" gives everyday life the weight of memory. For "Before the Storm", known location: Museum of Fine Arts in Nizhny Novgorod. By its light, "Before the Storm" unites a real place and an interior state.
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Isaac Levitan
Evening after the rain
- Date
- 1879
- Collection
- Private collection
- Technique or format
- Oil on canvas
Silence depends on the composition in "Evening after the rain". Dated in 1879, "Evening after the rain" expands the place thanks to the details. For "Evening after the rain", reference preserved: private collection. By its light, "Evening after the rain" draws its poetry from accuracy.
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Isaac Levitan
Alley to Ostankino
- Date
- 1880
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
Light orders the pattern in "Alley to Ostankino". Dated 1880, "Alley to Ostankino" makes the season almost physical. For "Alley to Ostankino", collection reported: Tretyakov Gallery, Moscow. By its light, "Alley to Ostankino" extends the invention of the mood landscape.
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Isaac Levitan
In the park
- Date
- 1880
- Collection
- Private collection
- Technique or format
- Oil on canvas
A path casts its gaze in "In the Park". Dated in 1880, "In the Park" retains emotion in color. For "In the Park", documentary landmark: private collection. By its light, "In the Park" keeps all its place silent.
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Isaac Levitan
The Oak
- Date
- 1880
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
The plans deepen the view in "The Oak". Dated in 1880, "The Oak" opens the stage with its horizon. For "The Oak", place of conservation: Tretyakov Gallery, Moscow. Through its light, "The Oak" makes the atmosphere immediately recognizable.
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Isaac Levitan
Autumn landscape
- Date
- 1880
- Collection
- Private collection
- Technique or format
- Oil on canvas
The sky sets the tone in "Autumn Landscape". Dated in 1880, "Autumn Landscape" keeps track of a human presence. For "Autumn Landscape", published provenance: private collection. By its light, "Autumn Landscape" keeps a clear story.
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Isaac Levitan
The Sloboda of Savvinskaya near Zvenigorod
- Date
- 1884
- Collection
- Private collection
- Technique or format
- Oil on canvas, 0.43 × 0.67 cm
Water shares the composition in "The Sloboda of Savvinskaya near Zvenigorod". Dated in 1884, "The Sloboda of Savvinskaya near Zvenigorod" finely grants sky, earth and water. For "The Sloboda of Savvinskaya near Zvenigorod", current notice: private collection. By its light, "The Sloboda of Savvinskaya near Zvenigorod" remains a lasting milestone on the route.
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Isaac Levitan
Winter in the forest
- Date
- 1885
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
The trees set the pace in "Winter in the Forest". Dated in 1885, "Winter in the Forest" gives the weather the leading role. For "Winter in the Forest", museum anchor: Tretyakov Gallery, Moscow. By its light, "Winter in the Forest" goes far beyond the modesty of the motif.
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Isaac Levitan
Spring in the countryside.
- Date
- 1891
- Collection
- warsaw National Museum
- Technique or format
- Oil on canvas, 0.35 × 0.47 cm
The road aims into the distance in "Spring in the Countryside." Dated 1891, "Spring in the Countryside." gently reverses the one who observes. For "Spring in the Countryside.", collection source: Warsaw National Museum. By its light, "Spring in the countryside." leaves the last word to the eye.
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Isaac Levitan
Trail in the deciduous forest, ferns
- Date
- 1895
- Collection
- Private collection
- Technique or format
- Oil on canvas
The foreground remembers the season in "Trail in the deciduous forest, ferns". Dated in 1895, "Trail in the deciduous forest, ferns" avoids any postcard campaign. For "Trail in the deciduous forest, ferns" ", catalog marker: private collection. By its light, "Trail in the deciduous forest, ferns" hides a very cleverly regulated balance.
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Isaac Levitan
Autumn, sunny day
- Date
- 1897
- Collection
- National Gallery of Armenia
- Technique or format
- Oil on canvas, 0.595 × 0.73 cm
Color sets the time in "Autumn, sunny day". Dated in 1897, "Autumn, sunny day" gives everyday life the weight of memory. For "Autumn, sunny day", known location: National Gallery from Armenia. By its light, "Autumn, sunny day" unites a real place and an interior state.
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Isaac Levitan
Apple trees in bloom
- Date
- 1897
- Collection
- national Museum of Fine Arts of Belarus
- Technique or format
- Oil on canvas
Silence depends on the composition in "Apple trees in bloom". Dated 1897, "Apple trees in bloom" expands the place with details. For "Apple trees in bloom", reference preserved: National Museum of Fine Arts of Belarus. By its light, "Apple trees in bloom" draws its poetry from accuracy.
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Isaac Levitan
Autumn, birches
- Date
- 1899
- Collection
- Local Museum, Sumy
- Technique or format
- Oil on canvas
Light orders the pattern in "Autumn, birches". Dated 1899, "Autumn, birches" makes the season almost physical. For "Autumn, birches", collection noted: Local Museum, Sumy. By its light, "Autumn, birches" extends the invention of the mood landscape.
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Isaac Levitan
Autumn fog
- Date
- 1899
- Collection
- Russian Museum, Saint Petersburg
- Technique or format
- Oil on canvas
A path casts its gaze in "Autumn Fog". Dated in 1899, "Autumn Fog" retains emotion in color. For "Autumn Fog", documentary landmark: Russian Museum, Saint Petersburg. Through its light, "Autumn Fog" keeps all its place silent.
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Isaac Levitan
Twilight, moon
- Date
- 1899
- Collection
- Russian Museum, Saint Petersburg
- Technique or format
- Oil on canvas
The plans deepen the view in "Twilight, Moon". Dated 1899, "Twilight, Moon" opens the scene with its horizon. For "Twilight, Moon", place of conservation: Russian Museum, Saint Petersburg. By its light, "Twilight, Moon" makes the atmosphere immediately recognizable.
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Isaac Levitan
Autumn forest
- Date
- 1899
- Collection
- Local Museum, Sumy
- Technique or format
- Oil on canvas
The sky sets the tone in "Autumn Forest". Dated 1899, "Autumn Forest" keeps track of a human presence. For "Autumn Forest", published provenance: Local Museum, Sumy. By its light, "Autumn Forest" keeps a clear story.
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Isaac Levitan
Isbas
- Date
- 1899
- Collection
- nizhny Novgorod Museum of Fine Arts
- Technique or format
- Oil on canvas
Water shares the composition in "Isbas". Dated 1899, "Isbas" finely grants sky, earth and water. For "Isbas", current notice: Museum of Fine Arts of Nizhny Novgorod. By its light, "Isbas" remains a lasting milestone on the route.
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Isaac Levitan
The road
- Date
- 1899
- Collection
- Private collection
- Technique or format
- Oil on canvas
The trees regulate the rhythm in "The Road". Dated in 1899, "The Road" entrusted the weather with the leading role. For "La Route", museum anchor: private collection. By its light, "La Route" goes far beyond the modesty of the motif.
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Isaac Levitan
The Haggle
- Date
- 1899
- Collection
- Private collection
- Technique or format
- Oil on canvas
The road aims into the distance in "Le Halage". Dated in 1899, "Le Halage" gently reverses the one who observes. For "Le Halage", source of collection: private collection. By its light, "Le Halage" leaves the last word to the eye.
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Isaac Levitan
The fields
- Date
- 1899
- Collection
- Vyatskiy Art Museum
- Technique or format
- Oil on canvas
The foreground retains the season in "Les Champs". Dated in 1899, "Les Champs" avoids any postcard campaign. For "Les Champs", catalog marker: Vyatskiy Art Museum. By its light, "Les Champs" hides a very cleverly regulated balance.
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Isaac Levitan
The Last Rays of the Sun
- Date
- 1899
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
Color sets the time in "The Last Rays of the Sun". Dated in 1899, "The Last Rays of the Sun" gives everyday life the weight of memory. For "The Last Rays of the Sun", known location: Tretyakov Gallery, Moscow. Through its light, "The Last Rays of the Sun" unites a real place and an interior state.
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Isaac Levitan
Rural view
- Date
- 1899
- Collection
- Yekaterinburg Museum of Fine Arts
- Technique or format
- Oil on canvas, 0.305 × 0.55 cm
Silence depends on the composition in "Rural View". Dated 1899, "Rural View" expands the place with details. For "Rural View", preserved reference: Yekaterinburg Museum of Fine Arts. Through its light, "Rural View" draws its poetry from accuracy.
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Isaac Levitan
Blue twilight
- Date
- 1900
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas, 0.505 × 0.74 cm
Light orders the pattern in "Blue Twilight". Dated 1900, "Blue Twilight" makes the season almost physical. For "Blue Twilight", collection reported: Tretyakov Gallery, Moscow. Through its light, "Blue Twilight" extends the invention of the mood landscape.
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Isaac Levitan
Birch trees at the edge
- Date
- around 1880-1900
- Collection
- Private collection
- Technique or format
- Oil on canvas
A path casts its gaze in "Birches at the edge". Dated around 1880-1900, "Birches at the edge" retains emotion in color. For "Birches at the edge", documentary reference: private collection. By its light, "Birches at the edge" keeps all its place silent.
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Isaac Levitan
The Alley
- Date
- around 1880-1900
- Collection
- Private collection
- Technique or format
- Oil on canvas
The plans deepen the view in "L’Allée". Dated around 1880-1900, "L’Allée" opens the stage with its horizon. For "L’Allée", a place of conservation: private collection. Through its light, "L’Allée" makes the atmosphere immediately recognizable.
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Isaac Levitan
Lilac
- Date
- around 1880-1900
- Collection
- Omsk District Museum of Visual Arts
- Technique or format
- Oil on canvas
The sky sets the tone in "Lilac". Dated around 1880-1900, "Lilac" keeps track of a human presence. For "Lilac", published provenance: Omsk District Museum of Visual Arts. Through its light, "Lilac" keeps a story in the light.
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Isaac Levitan
Noon
- Date
- around 1880-1900
- Collection
- Novokuznetsk Art Museum
- Technique or format
- Oil on canvas
Water shares the composition in "Midi". Dated around 1880-1900, "Midi" finely grants sky, earth and water. For "Midi", current notice: Novokuznetsk Art Museum. By its light, "Midi" remains a lasting milestone on the route.
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Isaac Levitan
Windmills, late twilight
- Date
- around 1880-1900
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
The trees set the pace in "Windmills, Late Twilight". Dated around 1880-1900, "Windmills, Late Twilight" gives the weather the leading role. For "Windmills, Late Twilight", museum anchor: Gallery Tretyakov, Moscow. By its light, "Windmills, Late Twilight" goes far beyond the modesty of the motif.
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Isaac Levitan
Moon night
- Date
- around 1880-1900
- Collection
- Tretyakov Gallery, Moscow
- Technique or format
- Oil on canvas
The road aims into the distance in "Nuit de lune". Dated around 1880-1900, "Nuit de lune" gently reverses the observer. For "Nuit de lune", collection source: Tretyakov Gallery, Moscow. By its light, "Nuit de lune" leaves the last word to the eye.
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Isaac Levitan
Ostankino
- Date
- around 1880-1900
- Collection
- Russian Museum, Saint Petersburg
- Technique or format
- Oil on canvas
The foreground retains the season in "Ostankino". Dated around 1880-1900, "Ostankino" avoids any postcard campaign. For "Ostankino", catalog marker: Russian Museum, Saint Petersburg. By its light, "Ostankino" hides a very cleverly regulated balance.
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Isaac Levitan
Little house on the prairie
- Date
- around 1880-1900
- Collection
- Private collection
- Technique or format
- Oil on canvas
Color sets the time in "Little House on the Prairie". Dated around 1880-1900, "Little House on the Prairie" gives everyday life the weight of memory. For "Little House on the Prairie", known location: collection particular. Through its light, "Little House on the Prairie" unites a real place and an interior state.
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Isaac Levitan
Road in the forest
- Date
- around 1880-1900
- Collection
- Novokuznetsk Art Museum
- Technique or format
- Oil on canvas
Silence depends on the composition in "Road in the Forest". Dated around 1880-1900, "Road in the Forest" expands the place thanks to the details. For "Road in the Forest", reference preserved: Novokuznetsk Art Museum. Through its light, "Road in the Forest" draws its poetry from accuracy.
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Isaac Levitan
Village road
- Date
- around 1880-1900
- Collection
- National Gallery of Finland
- Technique or format
- Oil on canvas, 0.17 × 0.34 cm
The light orders the pattern in "Village Road". Dated around 1880-1900, "Village Road" makes the season almost physical. For "Village Road", collection noted: National Gallery of Finland. By its light, "Village Road" extends the invention of the mood landscape.
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Isaac Levitan
Village in winter
- Date
- around 1880-1900
- Collection
- Tula Oblast Art Museum
- Technique or format
- Oil on canvas
A path catches the eye in "Village in Winter". Dated around 1880-1900, "Village in Winter" retains emotion in color. For "Village in Winter", documentary landmark: Tula Oblast Art Museum. Through its light, "Village in Winter" keeps all its place silent.
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Isaac Levitan
Spring in Italy
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The shots deepen the view in "Spring in Italy". Dated around 1880-1900, "Spring in Italy" opens the scene with its horizon. For "Spring in Italy", place of conservation: Undocumented collection. By its light, " Spring in Italy makes the atmosphere immediately recognizable.
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Isaac Levitan
One day in June
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The sky sets the tone in "A June Day". Dated around 1880-1900, "A June Day" keeps track of a human presence. For "A June Day", published provenance: Undocumented collection. By its light, "A June Day" keeps a clear story.
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Isaac Levitan
High water
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Water shares the composition in "High water". Dated around 1880-1900, "High water" finely grants sky, earth and water. For "High water", current notice: Undocumented collection. By its light, "High water" remains a lasting milestone on the route.
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Isaac Levitan
Crimean landscape
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Trees regulate the rhythm in "Crimean Landscape". Dated around 1880-1900, "Crimean Landscape" gives the weather the leading role. For "Crimean Landscape", museum anchor: Undocumented collection. By its light, "Crimean Landscape" goes far beyond the modesty of the motif.
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Isaac Levitan
Before the storm
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The road aims into the distance in "Before the Storm". Dated around 1880-1900, "Before the Storm" gently reverses the observer. For "Before the Storm", collection source: Undocumented collection. By its light, "Before the Storm" leaves the last word to the eye.
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Isaac Levitan
Lake in the forest
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The foreground retains the season in "Lake in the Forest". Dated around 1880-1900, "Lake in the Forest" avoids any postcard campaign. For "Lake in the Forest", catalog marker: Undocumented collection. By its light, "Lake in the Forest" hides a very cleverly regulated balance.
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Isaac Levitan
Lake in the evening
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Color sets the time in "Lake in the Evening". Dated around 1880-1900, "Lake in the Evening" gives everyday life the weight of memory. For "Lake in the Evening", known location: Undocumented collection. By its light, "Lake in the Evening" unites a real place and an interior state.
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Isaac Levitan
On the way to Zion
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Silence depends on the composition in "On the Way to Zion". Dated around 1880-1900, "On the Way to Zion" expands the place with details. For "On the Way to Zion", reference preserved: Undocumented collection. By his lumière, "On the Way to Zion" draws its poetry from accuracy.
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Isaac Levitan
Small station
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Light orders the pattern in "Little Station". Dated around 1880-1900, "Little Station" makes the season almost physical. For "Little Station", collection reported: Undocumented collection. Through its light, "Little Station" extends the invention of the mood landscape.
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Isaac Levitan
The Volga
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
A path casts its gaze in "La Volga". Dated around 1880-1900, "La Volga" retains emotion in color. For "La Volga", documentary reference: Undocumented collection. Through its light, "La Volga" keeps all its place silent.
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Isaac Levitan
Hot
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The shots deepen the view in "Remous". Dated around 1880-1900, "Remous" opens the stage with its horizon. For "Remous", place of conservation: Undocumented collection. By its light, "Remous" makes the atmosphere immediately recognizable.
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Isaac Levitan
High waters on the Soura
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The sky sets the tone in "High waters on the Soura". Dated around 1880-1900, "High waters on the Soura" keeps track of a human presence. For "High waters on the Soura", published provenance: Undocumented collection. By his light, "High waters on the Soura" holds a story in the clearing.
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Isaac Levitan
Evening on the Volga
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Water shares the composition in "Evening on the Volga". Dated around 1880-1900, "Evening on the Volga" finely grants sky, earth and water. For "Evening on the Volga", current notice: Undocumented collection. By its light, "Evening on the Volga" remains a lasting milestone on the route.
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Isaac Levitan
Babkino Estate
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The trees regulate the rhythm in "Domaine de Babkino". Dated around 1880-1900, "Domaine de Babkino" entrusted the weather with the leading role. For "Domaine de Babkino", museum anchor: Undocumented collection. By its light, "Domaine de Babkino" goes far beyond the modesty of the motif.
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Isaac Levitan
Small worn courtyard, Plios
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The road aims into the distance in "Little worn courtyard, Plios". Dated around 1880-1900, "Little worn courtyard, Plios" gently reverses the one who observes. For "Little worn courtyard, Plios", collection source: Undocumented collection. By his lumière, "Little worn courtyard, Plios" leaves the last word to the eye.
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Isaac Levitan
First greenery
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The foreground retains the season in "Première verdure". Dated around 1880-1900, "Première verdure" avoids any postcard campaign. For "Première verdure", catalog marker: Undocumented collection. By its light, "Première verdure" hides a very cleverly regulated balance.
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Isaac Levitan
High bank of the Volga
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Color sets the time in "High bank of the Volga". Dated around 1880-1900, "High bank of the Volga" gives everyday life the weight of memory. For "High bank of the Volga", known location: Undocumented collection. By his light, "High bank of the Volga" unites a real place and an interior state.
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Isaac Levitan
Barges on the Volga
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Silence depends on the composition in "Barges sur la Volga". Dated around 1880-1900, "Barges sur la Volga" expands the place thanks to the details. For "Barges sur la Volga", reference preserved: Undocumented collection. By its light, "Barges sur la Volga" draws its poetry from accuracy.
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Isaac Levitan
Mediterranean shore
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Light orders the pattern in "Rive de la Méditerranée". Dated around 1880-1900, "Rive de la Méditerranée" makes the season almost physical. For "Rive de la Méditerranée", collection reported: Collection not documented. By his lumière, "Shore of the Mediterranean" extends the invention of the mood landscape.
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Isaac Levitan
Venice, Riva degli Schiavoni
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
A path casts its gaze in "Venice, Riva degli Schiavoni". Dated around 1880-1900, "Venice, Riva degli Schiavoni" retains emotion in color. For "Venice, Riva degli Schiavoni", documentary reference: Collection no documented. By its light, "Venice, Riva degli Schiavoni" keeps its place silent.
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Isaac Levitan
Near Bordighera
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The shots deepen the view in "Near Bordighera". Dated around 1880-1900, "Near Bordighera" opens the stage with its horizon. For "Near Bordighera", place of conservation: Undocumented collection. By its light, "Near Bordighera" makes the atmosphere immediately recognizable.
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Isaac Levitan
Evening shadows
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The sky sets the tone in "Evening Shadows". Dated around 1880-1900, "Evening Shadows" keeps track of a human presence. For "Evening Shadows", published provenance: Undocumented collection. By its light, "Evening Shadows" keeps a story in the light.
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Isaac Levitan
Spring, last snow
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Water shares the composition in "Spring, Last Snow". Dated around 1880-1900, "Spring, Last Snow" finely grants sky, earth and water. For "Spring, Last Snow", current notice: Undocumented collection. By its light, "Spring, Last Snow" remains a lasting milestone on the route.
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Isaac Levitan
Stormy day
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The trees set the pace in "Storm Day". Dated around 1880-1900, "Storm Day" gives the weather the leading role. For "Storm Day", museum anchor: Undocumented collection. By its light, "Storm Day" goes far beyond the modesty of the motif.
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Isaac Levitan
Spring in Crimea
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The road aims into the distance in "Spring in Crimea". Dated around 1880-1900, "Spring in Crimea" gently reverses the observer. For "Spring in Crimea", collection source: Undocumented collection. By its light, "Spring in Crimea" leaves the last word to the eye.
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Isaac Levitan
In the Crimean mountains
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The foreground remembers the season in "In the Crimean Mountains". Dated around 1880-1900, "In the Crimean Mountains" avoids any postcard campaign. For "In the Crimean Mountains", catalog marker: Collection undocumented. By its light, "In the Crimean Mountains" hides a very cleverly regulated balance.
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Isaac Levitan
Birch trees, gray day
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Color sets the time in "Birches, gray day". Dated around 1880-1900, "Birches, gray day" gives everyday life the weight of memory. For "Birches, gray day", known location: Undocumented collection. By its light, "Birches, gray day" unites a real place and an interior state.
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Isaac Levitan
Garden under the snow
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Silence depends on the composition in "Garden under the snow". Dated around 1880-1900, "Garden under the snow" expands the place thanks to the details. For "Garden under the snow", reference preserved: Undocumented collection. Through its light, "Garden under the snow" draws its poetry from accuracy.
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Isaac Levitan
Wooden church in Plios at sunset
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The light orders the motif in "Wooden Church at Plios at sunset". Dated around 1880-1900, "Wooden Church at Plios at sunset" makes the season almost physical. For "Wooden Church at Plios at sunset", collection noted: Undocumented collection. Through its light, "Wooden Church in Plios at sunset" extends the invention of the mood landscape.
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Isaac Levitan
Wild violets and forget-me-nots
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
A path casts its gaze in "Wild Violets and forget-me-nots". Dated around 1880-1900, "Wild Violets and forget-me-nots" retains emotion in color. For "Wild Violets and forget-me-nots", documentary reference: Collection no documented. Through its light, "Wild Violets and forget-me-nots" keeps its place silent.
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Isaac Levitan
Blueberries
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The shots deepen the view in "Bleuets". Dated around 1880-1900, "Bleuets" opens the stage with its horizon. For "Bleuets", place of conservation: Undocumented collection. By its light, "Bleuets" makes the atmosphere immediately recognizable.
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Isaac Levitan
Sea shore in Italy
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The sky sets the tone in "Shore of the Sea in Italy". Dated around 1880-1900, "Shore of the Sea in Italy" keeps track of a human presence. For "Shore of the Sea in Italy", published provenance: Undocumented collection. By its light, "Shore of the sea in Italy" holds a story in the clearing.
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Isaac Levitan
Autumn, mill in Plios
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Water shares the composition in "Autumn, mill in Plios". Dated around 1880-1900, "Autumn, mill in Plios" finely grants sky, earth and water. For "Autumn, mill in Plios", current notice: Undocumented collection. By his lumière, "Autumn, mill in Plios" remains a lasting milestone on the route.
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Isaac Levitan
Haymaking
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The trees regulate the rhythm in "La Fenaison". Dated around 1880-1900, "La Fenaison" entrusted the weather with the leading role. For "La Fenaison", museum anchor: Undocumented collection. By its light, "La Fenaison" goes far beyond the modesty of the motif.
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Isaac Levitan
Autumn landscape with the Ostrovno church
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The road aims into the distance in "Autumn landscape with the church of Ostrovno". Dated around 1880-1900, "Autumn landscape with the church of Ostrovno" gently reverses the one who observes. For "Autumn landscape with the church of Ostrovno", collection source: Undocumented collection. By its light, "Autumn landscape with the church of Ostrovno" leaves the last word to the eye.
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Isaac Levitan
The stream
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
The foreground retains the season in "Le Ruisseau". Dated around 1880-1900, "Le Ruisseau" avoids any postcard campaign. For "Le Ruisseau", catalog marker: Undocumented collection. By its light, "Le Ruisseau" hides a very cleverly regulated balance.
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Isaac Levitan
Summer evening by the river
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Color sets the time in "Summer evening by the river". Dated around 1880-1900, "Summer evening by the river" gives everyday life the weight of memory. For "Summer evening by the river", known location: Undocumented collection. Through its light, "Summer evening by the river" unites a real place and an interior state.
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Isaac Levitan
The Apiary
- Date
- around 1880-1900
- Collection
- Undocumented collection
- Technique or format
- Oil on canvas
Silence depends on the composition in "Le Rucher". Dated around 1880-1900, "Le Rucher" expands the place thanks to the details. For "Le Rucher", reference preserved: Undocumented collection. Through its light, "Le Rucher" draws its poetry from accuracy.
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