Painting Levitan “Spring. Big Water ”- Description and Video

Description of the picture:

Spring. Big water – Levitan. 1897. Oil on canvas. 64,2×57,5

The artist’s favorite spring in this picture is depicted during the period of his strongest manifestation. Before us is a flood that seized part of the coastal forest and several village buildings. The boat, which at that time serves as the only vehicle for communication with the world, not only indicates the invisible presence of a person in the landscape, but also gives the composition a logical completeness, connects natural awakening with the increasing activity of peasants.

Golden ocher tones, which the author uses to convey the warming spring sun, are mixed with blue shades of water and sky. A similar combination of colors was still loved by the ancient Russian icon painters to give their work a special parade and to depict the mountain world.

The mood of the work is very cheerful, even fun. The trees growing out of the water seem to rush towards the sun, sky and warmth, tired of winter sleep, they straighten their branches, as a waking person stretches, chases away the remnants of sleep and brings its body into "working" state.

Flooded sheds and baths look like ships going out to sea. The water surface is almost motionless. Reflected trees visually lengthen the picture, giving the composition vertical aspiration and special dynamics. Nature woke up, and her first deep breaths gave rise to this wonderful phenomenon, bringing joy and hope for a good, fruitful year.

Not much time will pass and the buds swollen on the trees will burst with a green riot of colors. Everything calmed down in anticipation of this major spring miracle. Water and heat revive life.

Subtle pink shades give the whole composition elegance and energy. Throughout the landscape, one can feel the internal dynamics, the expectation of a miracle, anticipation of beauty.

The work reflects the author’s attitude to what is happening. See the triumph of the eternal law in the flood "indestructibility" life could a man sincerely and unconditionally in love with his native land. One has only to look at the delicate silhouettes of trees, at the light clouds in the sky, at the clear water to understand – the author admires every little detail, writes out every drop of life-giving moisture, every twig.

An experienced author avoids harsh and vibrant colors. He tries to convey the Russian spring as accurately as possible, without embellishing anything. Therefore, the palette of the picture is unusually modest, but true and realistic. Russian nature does not need decorations, since it itself decorates the world better than any other."

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