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PROPERTY FROM A PRIVATE COLLECTION, GERMANY

Attributed to Isaak Ilich Levitan
DACHA
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25

PROPERTY FROM A PRIVATE COLLECTION, GERMANY

Attributed to Isaak Ilich Levitan
DACHA
前往

拍品詳情

俄羅斯繪畫

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倫敦

Attributed to Isaak Ilich Levitan
1860 - 1900
DACHA
signed in Cyrillic l.r.
oil on canvas
48.5 by 60cm, 19 by 23 3/4 in.
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相關資料

'How little Levitan has been appreciated and how poorly his work valued' lamented Levitan’s great friend Anton Chekhov soon after his death. 'It’s shameful. Here is a colossal, original, unique talent – something so fresh and strong. It ought to have marked a breakthrough. Alas, Levitan passed away too soon'. But in fact the impact of his lyrical landscapes would be immense; indeed 'it was so great that we can say without exaggeration that after Levitan, Russian landscape painting entered a new stage and acquired quite a new character' wrote Federov-Davidov.

Levitan’s grand vistas are magnificent, but where he excelled was in drawing out the poetry of unremarkable pockets of the countryside – small copses, ramshackle houses, backwater ponds. The wooden porticos and stairways of a Russian dacha surrounded by lilac bushes and trees are a recurring motif in his work. For example, he often sketched and painted Chekhov’s dacha at Babkino. The brilliant lighting on the flowers in the foreground of the present work, set against a dark background, is a technique commonly found in Levitan’s oils (for example, The First Green, May, 1888 or Ferns by the Water, 1895), while the depiction of the long-leafed shrubs is very reminiscent of his greenhouse study The Orangery (The Tula State Museum).

The feathery brushwork, the tone and the subject of the present work strongly suggest Levitan’s hand and the signature also appears to be characteristic. Without a suggested date however, it is impossible to identify this painting in a listing of Levitan’s works with any certainty and the attribution therefore remains unconfirmed.

俄羅斯繪畫

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倫敦