Description of the picture:
March – Levitan. 1895. Oil on canvas. 60×75
The great Russian landscape painter did not like winter. Like any artist of the late 19th century, he wrote with great pleasure the transitional seasons – spring and autumn. It was at this time that Russian nature exploded in a riot of colors and thousands of all kinds of combinations of shades and halftones. Perhaps the only exception is this work. True, in the full sense "winter" this landscape cannot be called; everything around us portends an early spring.
Tver province is a favorite place of the master. Here it is presented to the viewer "backyard" country estate. Stopping his cart pulled by a thin horse, the peasant left to discuss the upcoming working season with the master. And the old horse, rejoiced at the first timid sunshine, stands motionless, afraid to frighten off this rare moment of rest.
Spring in the picture practically did not come into law. The heavy and only slightly melted snow lies with a thick carpet. Only the snow cap on the roof of the back porch is ready to fall and crumble. If young birches are lit by the bright sun, then the gloomy pine trees remain in the shade, as if not wanting to give way to the incoming heat so soon.
But the spring does not hide. An impeccably clear sky gives out it, blue shadows in the snow, a birdhouse on top of a birch is ready to accept a cheerful and noisy bird family.
The roads have almost got rid of snow. The ocher color of the exposed hitting path also creates a completely spring and high spirits, and the sun-drenched wall of the wooden manor house seems to eagerly absorb heat, yearning for light throughout the long winter. The track of tracks running into the forest resembles a tale of a snow maiden hiding from the formidable Yaril-Sun.
All work is imbued with an atmosphere of impatient expectation of flowering and flowering. Awakened, spring slowly but surely transforms everything around.
It is known that the great landscape painter wrote this work unusually quickly, in just a few sessions. The author is doing his best to bring the onset of heat and flowering time closer.
The combination of green, blue and white colors created a unique and joyful coloring of the work. Before the master, nobody wrote winter like that. Therefore, this work has become a source of inspiration for a whole generation of Russian artists. The author managed to see summer joy, brilliance and gaiety in the usual March landscape. In everything, there is a certain incompleteness, understatement. Rapid changes in nature, the onset of heat create the illusion of movement in the picture, so artistically conveyed by the artist."