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Title: Four Seasons. Landscape in Russian Painting Price: $270.00 plus $15 for shipping, handling, and insurance. |
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Over 180 Russian artist’s works comprise this volume. The landscape painting of the artists reflect the most simple motifs of Russian nature, but always found there is a lyrical beauty that only a deeply patriotic eye could discern and appreciate. This lyricism is best exemplified in Alexi Savrasov’s picture, The Rooks are Back, Levitan’s Spring Flood, and many others. The majestic canvases of Ivan Shishkin’s, including Mast Tree Grove, as well as Levian’s Fresh Wind, The Volga, and The Month of March reflect the giant scope of the world of nature.
Alexi Savrasov The Rooks are Back,
Isaac Levitan The Vladiminrika Road
There are deep social overtones in Levitans’s canvas, The Vladimirika Road, which for all the serenity of the landscape, inevitably evokes thoughts on the suffering endured by the many generations of revolutionaries driven along the Valdimirika into Siberian exile.
Ivan Shiskin - Mast Grove (grove of trees suitable for ship's masts)
There are dozens of prominent Russian names on show: the idealistic Grigory Soroka, the decorative Arkhip Kuindgi, the experimental Valentin Serov, the lyrical Isaak Levitan, the juicy Boris Kustodiyev, the symbolic Viktor Borisov-Musatov, the avant-garde Kuzma Petrov-Vodkin and Kazimir Malevich and such socialist realist icons as Arkady Plastov, along with a range of such masterpieces as Natalya Goncharova’s “Hoar Frost” (1910-11) and Mikhail Larionov’s “Acacias in Spring” (1904), among others.
Arkady Plastov Hay making
Russian landscape painting is a unique phenomenon in the history of art. Its long path from the eighteenth century to today is scattered with brilliant achievements and a dazzling array of names and works, all reproduced in this publication. The art of the Russian landscapists offers an original reflection of all the main stages in the history of European painting - Neoclassicism, Romanticism, Realism, Impressionism, Symbolism and postmodernism in the twentieth century. As in poetry and music, the four seasons became, in painting, a way of exploring the secret meaning of nature.