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Сумерки. Стога. Стога сумерки картина

Сумерки. Стога — Википедия

В поздний период творчества Левитан обращается к спокойным, умиротворенным сюжетам. Любимым временем для художника становятся сумерки и поздний вечер. Темы полей и стогов в пейзаже не новы, к ним обращались и другие художники. Серия изображения стогов Моне вдохновила Левитана на колористические искания в конце 1890-х годов[2]. В картине «Сумерки. Стога» художник даже обращается к излюбленному Моне мотиву, но работа решена в ином ключе.

Картина «Сумерки. Стога» — одна из последних работ Левитана — была написана в 1899 г. в доме Чеховых, в Ялте. В книге Софьи Пророковой «Левитан» рассказывается история создания этого произведения: «В кабинете топился камин. Антон Павлович разгуливал, заложив руки за спину, и сокрушался о том, что ему, прирожденному северянину, приходится жить вдали от снега, берез и глухих лесов. Левитан попросил Марию Павловну принести картон, пристроил его в длинном углублении камина. Разговоры смолкли. Левитан писал. Когда он отошел от картона, все увидели луну, поднимающуюся за стогами. Словно сильным запахом свежего сена повеяло в комнате. Родной пейзаж. Теперь он всегда будет перед глазами Чехова, когда он поднимет их от листочков, исписанных убористым почерком. Он будет напоминать о далекой природе севера и о несравненном художнике. Картина понравилась Чехову. Он писал о ней О. Л. Книппер: „У нас Левитан. На моем камине он изобразил лунную ночь во время сенокоса. Луг, копны, вдали лес, надо всем царит луна“»[3].

Работу характеризует мягкий голубовато-зеленый колорит, статичность композиции, спокойный мазок, отказ от мелких подробностей и обобщение формы. Холодная гамма богата серо-голубыми и сине-зелеными оттенками. Левитан не отказывается от плановости и строит композицию уравновешенной, определяя композиционным центром луну на небе, от которой исходит легкий свет. Сглаженным крупным мазком Левитан добивается характерного этому времени суток ощущения спокойствия и тишины. Мягкий, богатый оттенками колорит полностью передает умиротворенное настроение и спокойное состояние природы.

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Сумерки. Стога Википедия

«Сумерки. Стога» — картина русского художника Исаака Левитана (1860—1900). Картина написана в 1899 году и находится в собрании Государственной Третьяковской галереи (инв. 5737). Размер картины — 59,8 × 84,6 см[1].

История и описание[ | код]

Отзывы[ | код]

Искусствовед Алексей Фёдоров-Давыдов писал[4]:

«После дождя. Плёс», «Март» и «Сумерки. Стога» можно назвать характерными произведениями, отмечающими, как вехи, внутреннюю и внешнюю живописную эволюцию левитановского творчества. Упрощая, порою стилизуя формы в своих поздних полотнах, Левитан остается до конца реалистом. Кажущиеся едва намеченными формы деревьев, изб, стогов на самом деле переданы чрезвычайно верно. Здесь у Левитана, как и у Серова, в основе всегда точный рисунок и уверенный, определенный мазок. Это упрощение, но такое, которое достигается лишь огромным знанием предмета изображения и верным, тренированным глазом, дисциплиной рисунка и живописи.

Искусствовед Фаина Мальцева отмечала[5]:

В сочетании лирического и эпического начала заключены неповторимое обаяние и трогательная нежность пейзажа «Сумерки. Стога». Сила воздействия этого произведения кажется неисчерпаемой именно потому, что оно способно вызвать широкий круг жизненных ассоциаций и вместе с тем донести до зрителя лирические чувства, пережитые пейзажистом перед лицом натуры.

См. также[ | код]

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Сумерки. Стога Википедия

История и описание

Отзывы

Искусствовед Алексей Фёдоров-Давыдов писал[4]:

Искусствовед Фаина Мальцева отмечала[5]:

См. также

Примечания

Ссылки

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Сумерки. Стога - WikiVisually

1. Левитан, Исаак Ильич – Isaac Ilyich Levitan was a classical Russian landscape painter who advanced the genre of the mood landscape. Isaac Levitan was born in a shtetl of Kibarty, Augustów Governorate in Congress Poland and his father Elyashiv Levitan was the son of a rabbi, completed a Yeshiva and was self-educated. He taught German and French in Kowno and later worked as a translator at a bridge construction for a French building company. At the beginning of 1870 the Levitan family moved to Moscow, in September 1873, Isaac Levitan entered the Moscow School of Painting, Sculpture and Architecture where his older brother Avel had already studied for two years. After a year in the copying class Isaac transferred into a naturalistic class, Levitans teachers were the famous Alexei Savrasov, Vasily Perov and Vasily Polenov. In 1875, his mother died, and his father seriously ill and became unable to support four children. The family slipped into abject poverty, as patronage for Levitans talent and achievements, his Jewish origins and to keep him in the school, he was given a scholarship. In 1877, Isaac Levitans works were first publicly exhibited and earned recognition from the press. In 1880 his painting Осенний день, Сокольники was bought by famous philanthropist and art collector Pavel Mikhailovich Tretyakov. In the spring of 1884 Levitan participated in the art exhibition by the group known as the Peredvizhniki. Levitan often visited Chekhov and some think Levitan was in love with his sister, in the early 1880s Levitan collaborated with the Chekhov brothers on the illustrated magazine Moscow and illustrated the M. Fabritsius edition Kremlin. Together with Korovin in 1885-1886 he painted scenery for performances of the Private Russian opera of Savva Mamontov, in the 1880s he participated in the drawing and watercolor gatherings at Polenov’s house. Levitans work was a response to the lyrical charm of the Russian landscape. Levitan did not paint urban landscapes, with the exception of the View of Simonov Monastery, mentioned by Nesterov, during work in Ostankino, he painted fragments of the mansion’s house and park, but he was most fond of poetic places in the forest or modest countryside. Characteristic of his work is a hushed and nearly melancholic reverie amidst pastoral landscapes largely devoid of human presence, fine examples of these qualities include The Vladimirka Road,1892 Evening Bells,1892, and Eternal Rest,1894, all in the Tretyakov Gallery. Though his late work displayed familiarity with Impressionism, his palette was generally muted, in the summer of 1890 Levitan went to Yuryevets and among numerous landscapes and etudes he painted The View of Krivooserski monastery. So the plan of one of his best pictures, The Silent Monastery, was born, the image of a silent monastery and planked bridges over the river, connecting it with the outside world, expressed the artists spiritual reflections. It is known that this made a strong impression on Chekhov

2. Картон – Despite widespread use in general English and French, the term is deprecated in business and industry. Material producers, container manufacturers, packaging engineers, and standards organizations, there is still no complete and uniform usage. Often the term cardboard is avoided because it does not define any particular material, the term has been used since at least as early as 1848, when Anne Brontë mentioned it in her novel, The Tenant of Wildfell Hall. This marked the origin of the box, though in modern times the sealed bag is plastic and is kept inside the box rather than outside. Various types of cards are available, which may be called cardboard, paperboard is a paper-based material, usually more than about ten mils in thickness. It is often used for folding cartons, set-up boxes, carded packaging, configurations of paperboard include, Containerboard, used in the production of corrugated fiberboard. Folding boxboard, made up of layers of chemical and mechanical pulp. Solid bleached board is made purely from bleached chemical pulp and usually has a mineral or synthetic pigment, solid unbleached board is typically made of unbleached chemical pulp. White lined chipboard is typically made from layers of paper or recycled fibers. Because of its content it will be grey from the inside. Binders board, a used in bookbinding for making hardcovers. Modernly, materials falling under these names may be made using any actual paper. Corrugated fiberboard is a combination of paperboards, usually two flat liners and one inner fluted corrugated medium and it is often used for making corrugated boxes for shipping or storing products. This type of cardboard is also used by artists as original material for sculpting, most types of cardboard are recyclable. Boards that are laminates, wax coated, or treated for wet-strength are often difficult to recycle. Clean cardboard is usually worth recovering, although often the difference between the value it realizes and the cost of recovery is marginal, cardboard can be recycled industrially, or for home uses. For example, cardboard may be composted or shredded for animal bedding, cardboard box Carton Corrugated box design Folding carton Juicebox cardboard furniture

3. Масляная живопись – Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old

4. Государственная Третьяковская галерея – The State Tretyakov Gallery is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world. In 1892, Tretyakov presented his famous collection of approximately 2,000 works to the Russian nation. The façade of the building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin, during the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi. In 1977 the Gallery kept a significant part of the George Costakis collection, Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854-1855, he had bought 11 graphic sheets and 9 pictures of old Dutch masters, in 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings,471 sculptures and 10 drawings of Russian artists, in August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at time, there were 1,287 paintings and 518 graphic works of the Russian school,75 paintings and 8 drawings of European schools,15 sculptures. The official opening of the called the Moscow City Gallery of Pavel. The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the part of the mansion filled with art and it became necessary to make additions to the mansion in order to store. Additions were made in 1873,1882,1885,1892 and 1902-1904, construction of the façade was managed by the architect A. M. In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery, on June 3,1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum, with Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallerys collection. In 1926 architect and academician A. V, shchusev became the director of the gallery. In the following year the gallery acquired the house on Maly Tolmachevsky Lane. After restructuring in 1928, it housed the administration, academic departments, library, manuscripts department

5. Москва – Moscow is the capital and most populous city of Russia, with 13.2 million residents within the city limits and 17.8 million within the urban area. Moscow has the status of a Russian federal city, Moscow is a major political, economic, cultural, and scientific center of Russia and Eastern Europe, as well as the largest city entirely on the European continent. Moscow is the northernmost and coldest megacity and metropolis on Earth and it is home to the Ostankino Tower, the tallest free standing structure in Europe, the Federation Tower, the tallest skyscraper in Europe, and the Moscow International Business Center. Moscow is situated on the Moskva River in the Central Federal District of European Russia, the city is well known for its architecture, particularly its historic buildings such as Saint Basils Cathedral with its brightly colored domes. Moscow is the seat of power of the Government of Russia, being the site of the Moscow Kremlin, the Moscow Kremlin and Red Square are also one of several World Heritage Sites in the city. Both chambers of the Russian parliament also sit in the city and it is recognized as one of the citys landmarks due to the rich architecture of its 200 stations. In old Russian the word also meant a church administrative district. The demonym for a Moscow resident is москвич for male or москвичка for female, the name of the city is thought to be derived from the name of the Moskva River. There have been proposed several theories of the origin of the name of the river and its cognates include Russian, музга, muzga pool, puddle, Lithuanian, mazgoti and Latvian, mazgāt to wash, Sanskrit, majjati to drown, Latin, mergō to dip, immerse. There exist as well similar place names in Poland like Mozgawa, the original Old Russian form of the name is reconstructed as *Москы, *Mosky, hence it was one of a few Slavic ū-stem nouns. From the latter forms came the modern Russian name Москва, Moskva, in a similar manner the Latin name Moscovia has been formed, later it became a colloquial name for Russia used in Western Europe in the 16th–17th centuries. From it as well came English Muscovy, various other theories, having little or no scientific ground, are now largely rejected by contemporary linguists. The surface similarity of the name Russia with Rosh, an obscure biblical tribe or country, the oldest evidence of humans on the territory of Moscow dates from the Neolithic. Within the modern bounds of the city other late evidence was discovered, on the territory of the Kremlin, Sparrow Hills, Setun River and Kuntsevskiy forest park, etc. The earliest East Slavic tribes recorded as having expanded to the upper Volga in the 9th to 10th centuries are the Vyatichi and Krivichi, the Moskva River was incorporated as part of Rostov-Suzdal into the Kievan Rus in the 11th century. By AD1100, a settlement had appeared on the mouth of the Neglinnaya River. The first known reference to Moscow dates from 1147 as a place of Yuri Dolgoruky. At the time it was a town on the western border of Vladimir-Suzdal Principality

6. Моне, Клод – Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter

7. Чехов, Антон Павлович – Anton Pavlovich Chekhov was a Russian playwright and short story writer, who is considered to be among the greatest writers of short fiction in history. His career as a playwright produced four classics and his best short stories are held in esteem by writers. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three figures in the birth of early modernism in the theatre. Chekhov practiced as a medical doctor throughout most of his career, Medicine is my lawful wife, he once said. These four works present a challenge to the ensemble as well as to audiences, because in place of conventional action Chekhov offers a theatre of mood. Chekhov had at first written stories only for financial gain, but as his artistic ambition grew and he made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them. Anton Chekhov was born on the feast day of St. Anthony the Great 29 January 1860, the third of six surviving children, in Taganrog, a port on the Sea of Azov in southern Russia. His father, Pavel Yegorovich Chekhov, the son of a serf and his Ukrainian wife, were from the village Vilkhovatka near Kobeliaky. A director of the choir, devout Orthodox Christian, and physically abusive father. Chekhovs mother, Yevgeniya, was an excellent storyteller who entertained the children with tales of her travels with her cloth-merchant father all over Russia and our talents we got from our father, Chekhov remembered, but our soul from our mother. Despotism and lying so mutilated our childhood that its sickening and frightening to think about it, remember the horror and disgust we felt in those times when Father threw a tantrum at dinner over too much salt in the soup and called Mother a fool. Chekhov attended the Greek School in Taganrog and the Taganrog Gymnasium and he sang at the Greek Orthodox monastery in Taganrog and in his fathers choirs. In 1876, Chekhovs father was declared bankrupt after overextending his finances building a new house, to avoid debtors prison he fled to Moscow, where his two eldest sons, Alexander and Nikolay, were attending university. The family lived in poverty in Moscow, Chekhovs mother physically and emotionally broken by the experience, Chekhov was left behind to sell the familys possessions and finish his education. Chekhov remained in Taganrog for three years, boarding with a man called Selivanov who, like Lopakhin in The Cherry Orchard, had bailed out the family for the price of their house. Chekhov had to pay for his own education, which he managed by private tutoring, catching and selling goldfinches and he sent every ruble he could spare to his family in Moscow, along with humorous letters to cheer them up. Chekhov also enjoyed a series of affairs, one with the wife of a teacher. In 1879, Chekhov completed his schooling and joined his family in Moscow, Chekhov now assumed responsibility for the whole family

8. Чехова, Мария Павловна – Maria Pavlovna Chekhova was the sister of playwright Anton Chekhov, a teacher, artist, founder of the Chekhov Memorial House museum in Yalta, and a recipient of the Order of the Red Banner of Labour. Maria Pavlovna Chekhova was born on August 31,1863 in the city of Taganrog and she entered the Mariinskaya Girls Gymnasium in 1872. After the familys bankruptcy in 1876, she moved with the family to Moscow where she graduated from the Filaretovski Eparkhial School for Women in 1884, from 1886 to 1904 she read lectures on history and geography in Rzhevskayas private gymnasium for girls. In the 1890s she studied art at Stroganovka, in 1903 she was the recipient of a gold medal on the Saint Stanislaus ribbon for assiduity in education. After the death of Anton Chekhov, she dedicated her life to the collection and publication of the heritage of her brother. From 1922 to 1957 she was the director of the Chekhov Museum in Yalta, in 1935 Maria Chekhova and Olga Knipper visited the birth city of Chekhov, Taganrog, to participate in the events commemorating the 75th anniversary of Anton Chekhovs birth. The former Boys Gymnasium was named after Chekhov, Чехова Мария Павловна // Энциклопедия Таганрога

9. Книппер-Чехова, Ольга Леонардовна – Olga Leonardovna Knipper-Chekhova was a Russian Empire and Soviet stage actress. She was married to Anton Chekhov, Knipper was among the 44 original members of the Moscow Art Theatre when it was formed by Constantin Stanislavski in 1898. She played Arkadina in The Seagull, played Elena in the Moscow premiere of Uncle Vanya, Knipper married Anton Chekhov, the author of these plays, in 1901. Knipper-Chekhova played Ranevskaya again in 1943, when the theatre marked the 300th performance of The Cherry Orchard, the German actress Olga Chekhova was her niece and the Soviet composer Lev Knipper was her nephew. Olga Leonardovna Knipper was born on the 21 September 1868 in Glazov to Leonard, though both of her parents were of German origin, her father wasted no time in claiming Russia as their family heritage. Around the time of Olgas birth, her father, Leonard, was in charge of a factory in a small town north-east of European Russia called Glazov, two years after Olga was born, her family moved to Moscow, where they became accustomed to an upper-middle-class lifestyle. Growing up in between her two brothers, Konstantin and Vladimir, Olga was pampered extensively and she attended a private school for girls, was fluent in French, German, and English, and took music and singing lessons after rigorous schooling days. Olga showed considerable promise as a painter and was her own accompanist on the piano when she entertained friends and family at dinner parties. Her mother, Anna Ivanovna, though very talented as a singer and pianist, was forced to give up any hopes of pursuing a professional career in the arts. In 1894, Olgas father died unexpectedly, leaving the 25-year-old, Olga and her mother both began giving music and singing lessons to make ends meet. They also dismissed four of their five servants, and moved into a smaller flat, Olgas hopes of becoming a successful stage actress had not yet diminished. She enrolled briefly into the Maly Theatres drama school, although she dropped out one month later, with the help of her reluctant mother, Olga enrolled at the Philharmonic School, where she was taught by the future co-founder of the Moscow Art Theatre, Vladimir Nemirovich-Danchenko. Nemirovich introduced Knipper and fellow student Vsevolod Meierhold to Constantin Stanislavski, told in strict confidence, Nemirovich confessed to Knipper and Meierhold that he and Stanislavski were planning the creation of a new theatre company. Nemirovich assured the two actors that they would be invited to join this company and to lead it to greatness. After many weeks, enough capital was secured to found the new company. While rehearsing for The Seagull on 9 September, Olgas 30th birthday, she met Russias most eligible bachelor and playwright of The Seagull, Anton Chekhov. Knipper and Chekhov exchanged telegrams and letters for the few years, while Olga became more familiar with Chekhovs younger sister. Random letters of teasing and playfulness became letters of love and deep remorse that they lived so far apart each other

10. Серов, Валентин Александрович – Valentin Alexandrovich Serov was a Russian painter, and one of the premier portrait artists of his era. Serov was born in Saint Petersburg, son of the Russian composer and music critic Alexander Serov, Serovs early creativity was sparked by the realistic art of Repin and strict pedagogical system of Chistyakov. The greatest works of Serovs early period were portraits, The Girl with Peaches, in these paintings Serov concentrated on spontaneity of perception of the model and nature. From 1890 on, the became the basic genre in Serovs art. It was in this field that his style would become apparent. Serovs favorite models were actors, artists, and writers, initially abstaining from the polychromatic, brightly colored painting style of the 1880s, Serov often preferred a dominant scale of black-grey or brown tones. Impressionistic features appeared sometimes in construction of a portrait, or to capture a sense of spontaneous movement. As in the work of his contemporaries John Singer Sargent and Anders Zorn, the impressionism is not doctrinaire, receiving wide popularity, in 1894 Serov joined with the Peredvizhniki, and took on important commissions, among them portraits of grand duke Pavel Alexandrovich, S. M. Botkin,1899, and Felix Yusupov,1903 as well as Princess Olga Orlova, in these truthful, compositionally skillful, and picturesque executions in the grand manner, Serov consistently used linear-rhythmic drawing coupled with decorative color combinations. At the same time, he developed a contrasting direction, he frequently produced intimate, heartfelt, chamber portraits, mainly of children and women. In portraits of children Serov aspired to capture pose and gesture, to reveal and emphasize a spontaneity of internal movement, Serov frequently called upon various graphic techniques - watercolors, pastels, lithographs and so forth. Figures in Serovs portraits gradually became more and more refined and economical. From 1890 to 1900 Serov produced many landscape compositions on country themes, Serov married Olga Trubnikova in 1889. His wife and his children were the subject of many of his works, notably, his painting Children was of his sons Yura and Sasha. M. Gorkis museum, Moscow, Maria Yermolova, Feodor Chaliapin - both in the Tretyakov Gallery, and Helena Roerich, Serovs democratic beliefs were clearly shown during the Revolution from 1905 to 1907, he depicted a number of satirical figures exposing chastisers. A full member of the St. Petersburg Academy of Arts since 1903, in 1905 he resigned as a gesture of protest against the execution of striking workers and their families on 9 January, Bloody Sunday. His late creativity found expression in painting, and depth of comprehension of the historical maintenance of an epoch. The last years of Serovs life were marked by works on themes from classical mythology, while addressing images from the ancient tradition, Serov endowed classical subject matter with a personal interpretation

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Искусствовед Алексей Фёдоров-Давыдов писал[4]:

Искусствовед Фаина Мальцева отмечала[5]:

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Сумерки. Стога

«Сумерки Стога» — картина русского художника Исаака Левитана 1860—1900 Картина написана в 1899 году и находится в собрании Государственной Третьяковской галереи инв 5737 Размер картины — 59,8 × 84,6 см

Содержание

1 История и описание
2 Отзывы
3 См также
4 Примечания
5 Ссылки

История и описание

В поздний период творчества Левитан обращается к спокойным, умиротворенным сюжетам Любимым временем для художника становятся сумерки и поздний вечер Темы полей и стогов в пейзаже не новы, к ним обращались и другие художники Серия изображения стогов Моне вдохновила Левитана на колористические искания в конце 1890-х годов В картине «Сумерки Стога» художник даже обращается к излюбленному Моне мотиву, но работа решена в ином ключе

Картина «Сумерки Стога» — одна из последних работ Левитана — была написана в 1899 г в доме Чеховых, в Ялте В книге Софьи Пророковой «Левитан» рассказывается история создания этого произведения: «В кабинете топился камин Антон Павлович разгуливал, заложив руки за спину, и сокрушался о том, что ему, прирожденному северянину, приходится жить вдали от снега, берез и глухих лесов Левитан попросил Марию Павловну принести картон, пристроил его в длинном углублении камина Разговоры смолкли Левитан писал Когда он отошел от картона, все увидели луну, поднимающуюся за стогами Словно сильным запахом свежего сена повеяло в комнате Родной пейзаж Теперь он всегда будет перед глазами Чехова, когда он поднимет их от листочков, исписанных убористым почерком Он будет напоминать о далекой природе севера и о несравненном художнике Картина понравилась Чехову Он писал о ней О Л Книппер: „У нас Левитан На моем камине он изобразил лунную ночь во время сенокоса Луг, копны, вдали лес, надо всем царит луна“»

Работу характеризует мягкий голубовато-зеленый колорит, статичность композиции, спокойный мазок, отказ от мелких подробностей и обобщение формы Холодная гамма богата серо-голубыми и сине-зелеными оттенками Левитан не отказывается от плановости и строит композицию уравновешенной, определяя композиционным центром луну на небе, от которой исходит легкий свет Сглаженным крупным мазком Левитан добивается характерного этому времени суток ощущения спокойствия и тишины Мягкий, богатый оттенками колорит полностью передает умиротворенное настроение и спокойное состояние природы

Отзывы

Искусствовед Алексей Фёдоров-Давыдов писал:

«После дождя Плёс», «Март» и «Сумерки Стога» можно назвать характерными произведениями, отмечающими, как вехи, внутреннюю и внешнюю живописную эволюцию левитановского творчества Упрощая, порою стилизуя формы в своих поздних полотнах, Левитан остается до конца реалистом Кажущиеся едва намеченными формы деревьев, изб, стогов на самом деле переданы чрезвычайно верно Здесь у Левитана, как и у Серова, в основе всегда точный рисунок и уверенный, определенный мазок Это упрощение, но такое, которое достигается лишь огромным знанием предмета изображения и верным, тренированным глазом, дисциплиной рисунка и живописи

Искусствовед Фаина Мальцева отмечала:

В сочетании лирического и эпического начала заключены неповторимое обаяние и трогательная нежность пейзажа «Сумерки Стога» Сила воздействия этого произведения кажется неисчерпаемой именно потому, что оно способно вызвать широкий круг жизненных ассоциаций и вместе с тем донести до зрителя лирические чувства, пережитые пейзажистом перед лицом натуры

См также

Список картин Исаака Ильича Левитана

Примечания

↑ Государственная Третьяковская галерея - Сумерки Стога рус Третьяковская галерея Проверено 3 декабря 2017
↑ Левитан ИИ Письма, документы, воспоминания / Общред АА Фёдорова-Давыдова — М, 1956 — С 188
↑ Софья Пророкова Об Исааке Левитане
↑ Алексей Федоров-Давыдов Статья о творчестве Исаака Левитана
↑ Мальцева ФС Мастера русского пейзажа: вторая половина XIX в Часть 4 ИИ Левитан — М, 2001 — С 38

Ссылки

Исаак Ильич Левитан — Лучшие картины, пейзажи — Сумерки Стога, 1899 HTML isaak-levitanru

Работы Исаака Левитана

Солнечный день Весна 1876—1877
Осень Дорога в деревне 1877
Вечер 1877
Осенний день Сокольники 1879
Берёзовая роща 1885—1889
После дождя Плёс 1889
Вечер Золотой Плёс 1889
Тихая обитель 1890
У омута 1892
Владимирка 1892
Вечерний звон 1892
Над вечным покоем 1894
Свежий ветер Волга 1895
Март 1895
Золотая осень 1895
Весна Большая вода 1897
Сумерки Стога 1899
Озеро 1899—1900

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