The composition of Levitan’s painting “Spring in Italy”

The composition of Levitan’s painting “Spring in Italy”

There is this painter has two wonderful landscapes and both of them are dedicated to Italy, and to be precise, spring in Italy.

Actually, spring is a wonderful time of the year everywhere. But Levitan reveals to us the Italian spring, which means that there is something in it.

Two landscapes created in one year and almost at the same place, in the mountains, but they are different.

On the first canvas, most likely already sunset and flowering trees sink gradually into the darkness. But the sun still illuminates distant snow peaks, and twilight gradually descends to the mountains. Handsomely? Yes. But we can assume that the clouds suddenly appeared in the absolutely blue sky and their shadows began to “run” on the ground. Maybe this is the case, in this country the weather sometimes changes its nature very quickly, however, like the people living in these parts.

On the second canvas is actually the same, but only this time the sun has not yet set and therefore the landscape is bright enough, sunny. The rural road, leading somewhere far away, the green hills at the very top. And of course the snow mountain, which shines with its snowy whiteness. Riot of colors, even on the first canvas, in dark tones, pale pink-white blossoming apple-trees are clearly visible. It looks very beautiful from the outside, and most importantly wildly romantic.

Levitan remained true to himself, and even here in Italy he was able to exceed all expectations. But still his Russian landscapes are incomparable. What, it is true, then – it is true that Levitan wrote his native spaces much better and more interesting. But still it’s not this, but that even in the Italian province he found a riot of colors and was able to transmit so beautifully and emotionally with the help of all colors of warm shades.

This is what attracts our eyes – colors, from dark green to crystal white. And of course, this is his European anthem to Spring, which is always and everywhere, and probably will always be.


The composition of Levitan’s painting “Spring in Italy”