Isaac Levitan

Paintings

Biography & Memoir, Artists, Architects & Photographers, Nonfiction, Art & Architecture
Cover of the book Isaac Levitan by Daniel Coenn, Classic & Annotated
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Author: Daniel Coenn ISBN: 1230000147863
Publisher: Classic & Annotated Publication: July 2, 2013
Imprint: 1 Language: English
Author: Daniel Coenn
ISBN: 1230000147863
Publisher: Classic & Annotated
Publication: July 2, 2013
Imprint: 1
Language: English

Isaac Levitan was a classical Russian landscape painter who advanced the genre of the "mood landscape". His extremely influential art heritage consists of more than a 1000 paintings, pastels, graphics, and illustrations. Levitan's paintings were a deep response to the lyrical magic of the Russian landscape. He did not paint city landscapes; with few exceptions. During the late 1870s Levitan created the special option of the "landscape of mood", in which the shape and condition of nature are spiritualized, and become carriers of conditions of the human soul. Characteristic of his work is a hushed and nearly melancholic reverie amidst pastoral landscapes largely devoid of human presence. Though his late work displayed familiarity with Impressionism, his palette was generally muted, and his tendencies were more naturalistic and poetic than optical or scientific.

 

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Isaac Levitan was a classical Russian landscape painter who advanced the genre of the "mood landscape". His extremely influential art heritage consists of more than a 1000 paintings, pastels, graphics, and illustrations. Levitan's paintings were a deep response to the lyrical magic of the Russian landscape. He did not paint city landscapes; with few exceptions. During the late 1870s Levitan created the special option of the "landscape of mood", in which the shape and condition of nature are spiritualized, and become carriers of conditions of the human soul. Characteristic of his work is a hushed and nearly melancholic reverie amidst pastoral landscapes largely devoid of human presence. Though his late work displayed familiarity with Impressionism, his palette was generally muted, and his tendencies were more naturalistic and poetic than optical or scientific.

 

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