Essay based on Levitan’s painting “Golden Autumn”

Isaac Levitan is one of those artists who managed to show in their canvases the beauty of modest Russian landscapes. Autumn is his favorite theme. The artist has a lot of paintings that depict different moments of this time of year. In the painting “Golden Autumn” we see the period that is popularly called “Indian summer”.

We see a birch grove. It is located on the left bank of a small river. The slender trees seemed to line up in a round dance. The painting uses many shades of yellow, brown and reddish color. But still, autumn has not yet fully come into its own. All the trees are covered with foliage, the grass has not yet completely withered, and on the right bank of the river a small grove of some trees is cheerfully green. Nature is lush and solemn. But still, sad notes are subtly visible in this landscape. In the foreground, two aspen trees seem to run up one after another along the slope. They have already lost almost all their foliage and seem chilled. The mood of sadness is also created by the image of a lonely golden birch tree, which stands on the very edge of the right low but steep bank of the river. And the sky is no longer as bright as in summer. It is covered with clouds and seems heavy. The water in the river reflects the blue of the sky and shimmers with a cold shine.

The presence of a person is felt in the picture. In the background we see some buildings and a field where winter crops have already sprouted. This greenery seems unnatural against the background of autumn colors.

There is no horizon line. The edge of the sky is hidden behind the tops of the distant forest, and this creates a feeling of endless space.

In the film “Golden Autumn,” Levitan managed to convey the farewell beauty of Russian nature, its charm and uniqueness. When you look at this landscape, you understand that this state of nature is fleeting. Now dark clouds will roll in, the wind will blow and sweep away all this beauty. But the artist stopped the moment and saved it for us.

The famous Russian artist Isaac Ilyich Levitan became famous most of all as the creator of unique landscapes that create the mood of everyone who looks at the picture. His genius talent lay in his unusual ability to put so much soul and observation into his paintings that nature in Levitan’s paintings looks alive, real. The artist undoubtedly managed to convey the state, mood and beauty of the world around us.

One of best paintings I consider Levitan’s landscape “Golden Autumn”. It depicts a birch forest, falling leaves, which autumn has decorated in various bright and pleasing colors. Shrubs grow in the background, and yellowing foliage is visible on the ground. The quiet and calm surface of the river pleases the eye. On one of its banks there are still green willows, which seem to be trying to resist the impending decline. The golden autumn in Levitan’s painting of the same name is a real “Indian” summer, full of colors, light and warmth.

It is not for nothing that this time is considered to be a very lyrical time of year. All poets, writers, and in general creative people We loved and continue to love this time very much. Golden autumn creates a thoughtful mood, with light and bright sadness. And Levitan, of course, was able to feel and understand this extraordinary time. Moreover, he managed to paint a picture in such a way that we begin to understand everything that happens in nature. At the same time, a tender joy arises in the heart, and even the imminent onset of winter and cold weather does not darken this mood.

Levitan's landscape “Golden Autumn” makes you look at nature and its beauty differently.

Essay based on the painting “Golden Autumn” by Levitan

From the artist’s paintings you can determine where he finds inspiration and what the image of what brings him joy. Even if he draws different plots, he only puts his soul and a part of himself into his favorite ones. For Levitan Isaac Ilyich, such paintings were images of Russian nature. In her beauty he found peace, faith and inspiration. His canvas “Golden Autumn” perfectly shows the author’s love for nature.

The whole picture shines with golden yellow hues. Although it is autumn outside, the day shown by the author is very sunny and, it seems, even warm. A small river flows quietly through most of the picture. On both sides of it there are steep banks covered with grass. It has already turned yellow and even acquired reddish shades. A little further along the shore there is a beautiful view of a birch grove. All the leaves have already turned yellow, but have not fallen off. As a result, the trees have been transformed and amaze with their golden glow in the sun’s rays. In the distance the picture shows fields cultivated by people. The plants on them are still green. And behind them there is a barely noticeable view of a small village. The bright sky is slightly covered with snow-white clouds.

The picture amazes everyone who looks at it. It did not leave the famous collector Tretyakov indifferent, who purchased the painting for his gallery. There it is today and delights viewers with its radiance, beauty and richness of nature.

For many people, autumn means mud, slush and the first cold weather. However, Levitan in his painting “Golden Autumn” shows us this time of year from a different perspective. He tried to convey that part of autumn, which is popularly called “Indian summer”. This part of autumn is characterized by warm days. Sometimes it’s so warm outside that for a moment it seems like summer is back. The only thing that reminds you of the approaching cold weather is the freshness of the night, which comes suddenly. And then you have to take out warm clothes from your wardrobe.

For nature, autumn is a difficult but very interesting period. The trees are dressed in beautiful outfits. The artist conveys the beauty of this decoration by mixing red and yellow flowers. True, in some places the unusually bright greenery hurts the eye, which will soon go away. But the water in the river becomes so dark and deep that it becomes a little uneasy. It seems to fascinate the casual observer - and it is difficult to resist this dark pool.

Autumn is a magical time. Levitan was able to convey this magic and beauty very successfully. Thanks to the painting “Golden Autumn” you can touch the mystery, feel the hidden breath of the earth.

Essay based on the painting “Golden Autumn” by Levitan

Many creative people treat the autumn theme in a special way. They see in this time of year not only slush, dirt, frequent changes in weather and mood, but also its beautiful palette. A.S. describes this time of year unforgettably. Pushkin in his famous works and I.I. Levitan.

In the painting “Golden Autumn” I see a wonderful landscape. It is clear that the artist was very inspired while painting this work. I noticed that Levitan used a rich palette of golden and yellow colors. These are the colors of nature that characterize everyone’s favorite “Indian summer.” It's a sunny, cloudless day. The weather gave us a few more warm, truly summer days.

It is clear that there is not even any wind, because the author shows the surface of the water like a mirror. Some trees have already shed their golden attire. At a distance we see a separate birch tree. It is amazingly beautiful because the leaves on it have not yet fallen. Here and there the artist depicts crimson, burgundy shades of leaves, showing all the imagination of nature. We see a clear sky, but it is no longer as bright as in summer.

In general, I liked the picture for its sunshine, special energy, which energizes me for the long winter months and improves my mood.

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Golden Autumn - Vasily Dmitrievich Polenov. 1893. Oil on canvas. 77x124 cm

A born landscape painter, Vasily Dmitrievich Polenov, made a huge contribution to the development and evolution of this genre. The wonderful painting “Golden Autumn” belongs to the second period of the painter’s landscape creativity. The thing is that critics divide all of Polenov’s landscape works into two stages - before the mid-1880s and after.

Having become fascinated by the landscape in , in the creative expedition that Polenov conducted together with, the master already in his first works demonstrated an individual approach to this genre - the widest plein air, freshness, saturation of colors, naturalness, clear clear drawing and precise composition. Later, the author abandoned the deliberate task, creating poetic masterpieces full of love for nature and admiration for the world around him. This is the painting “Golden Autumn”, painted in 1893.

Why is this painting so attractive even more than a hundred years after its creation? Perhaps the answer to this question lies in the personal preferences of the author. As you know, autumn was Polenov’s favorite time of year, and the author had special treatment– the author lived on the banks of this river for more than twenty years, never ceasing to admire and admire it. Back in 1890, the artist moved to the Borok estate in the village of Bekhovo, and three years later this painting appeared.

The composition of the painting is subordinated to a geometric line - the space is organized using an arc. This arched image of the river is a characteristic Polenovsky technique that forms the composition. The author abandoned his usual comparison of two plans, distant and foreground, leaving only a wide open space. The viewer imagines himself standing on the top of some hill, and from this point a magnificent colorful September landscape helpfully stretches out in front of him. Moreover, local residents easily recognized this place - the master depicted everything truthfully and realistically. The view of the Oka opens from the opposite side of the Ochkovye Mountains, and in the upper right corner you can see a white bell tower glistening in the sun.

A wide panoramic spread does not immediately “reveal” all the cards - rather, our gaze follows the river, rushing further and further, deeper into the picture. Submitting to the intricate trajectory set by the author, the viewer gradually comprehends all the delights of the opening view, which shows us the riot and variety of autumn colors.

For all its richness and diversity, the color of the picture is surprisingly harmonious. The “colorful” autumn itself finds a talented poetic interpretation within the framework of the canvas, thanks to the author’s ingenious flair. The general color is yellow in all its tonal variations: from soft ocher to solemn gold. Yellow birch trees surround the river in orderly rows, but through their thick, showy attire one can see the dark green foliage of some other tree with spreading branches. Most likely, this is an oak tree that has not yet been touched, has not yet been painted in autumn, and it still carries the echo of an irrevocably passing summer. The ocher color is also diluted by green young fir trees, planted unevenly in an open meadow along a well-trodden path, and a gentle sandy bank on the opposite side of the river.

The noble juxtaposition of yellow and green is brightened by blue coloring. It is in the bend of the Oka, and in the sky, covered with small islands of lush clouds, and in the thin smoky line of the horizon, giving the picture airiness and weightlessness.

The sky in this work deserves special attention and detailed analysis. The artist managed to “catch” all the shades here and convey their flickering - from the gray tones of the clouds to the light blue of the sky and pink lines born from the reflections of the sun. All this is subject to its own rhythm, and it seems that the sky is devoid of static, and the eyes are about to begin to notice smooth movement.

The image of the surface of the river is also interesting. The mirror ribbed surface was able to absorb all the colors of the canvas. Here is the noble blue of the river itself, and the reflection of the yellow leaves of the trees, and the duplication of the sky, which thereby “loops” the composition.

Polenov was known as the creator of the “intimate” landscape, in the concept that all natural beauty, revealed in his paintings is somehow close to the heart, dear and understandable. It seems that any viewer, peering at Polenov’s work, will remember his own story - everyone, for sure, in their life had their own favorite sloping bank, a birch grove, a dusty path trampled by riders, a yellowed meadow, a village church, such a sun-drenched day that We carefully store it in our souls.

It is this warm feeling, born from contemplating Polenov’s landscapes, that makes his work so attractive and even hypnotizing. And also the unconditional genius of Polenov the painter and his sincere boundless love for the Russian land.

; The first sketches were written there. Apparently, work on the canvas was completed at the end of the year in Moscow. In 1896, the painting was exhibited at the 24th exhibition (“Itinerants”), which took place in St. Petersburg and then in Moscow. In the same year it was purchased by Pavel Tretyakov.

“Golden Autumn” belongs to the “major series” of Levitan’s paintings of 1895-1897, which, in addition to it, includes “March” (1895), “Fresh Wind. Volga "(1891-1895), "Spring. Big Water" (1897) and other canvases. This painting “amazes and captivates with the fullness and beauty of its emotional content, so clearly expressed in the splendor of color and the major sound of the golden colorful range.” It also serves as one of the characteristic examples of the influence of impressionism on the artist’s work.

Story

Work on the painting began in the fall of 1895 - at a time when Levitan lived in the Gorka estate, located one and a half kilometers from the village of Ostrovno, located on the territory of the Vyshnevolotsky district of the Tver province, and now part of the Udomelsky district of the Tver region. The owner of the estate was Privy Councilor Ivan Nikolaevich Turchaninov, senator and assistant to the mayor of St. Petersburg. His wife Anna Nikolaevna and her daughters Varvara, Sophia and Anna often spent time there.

Levitan met Anna Nikolaevna Turchaninova in the summer of 1894 in Ostrovno, and they began an affair. Soon after this, Levitan moved to the Gorka estate and lived there in August and September 1894, and then returned there in the early spring of 1895 - it was then that his painting “March” was painted. At the end of March, Levitan returned to Moscow, and at the beginning of May he again came to Gorka, where he lived until the beginning of October (and also, possibly, returned there for several days in the second half of October). Especially for the artist, a two-story house-workshop was built on the territory of the estate, located on the shore of the lake.

It is believed that the painting depicts the Syezha River, flowing next to Ostrovno - this place was only half a kilometer from the Gorka estate. According to the testimony of the artist Vitold Byalynitsky-Biruli, who also worked in those places, the painting was painted based on a sketch made by Levitan during his stay in Gorka. Art critic Faina Maltseva also believes that the artist used autumn sketches created in Gorka, while the final version of the painting “Golden Autumn” was painted by him in Moscow. According to her, the impression that the landscape was painted from life is due to the “exceptional visual memory and inspired skill” of the painter. Apparently, it was his enthusiastic work on this landscape that forced Levitan, in a letter dated November 13, 1895, to refuse the artist Vasily Polenov’s offer to visit him at the Borok estate:

Together with nine other works by Levitan, among which were “March”, “Fresh Wind. Volga", "Twilight", "Ferns in the Forest", "Nenyufars" and others, the painting "Golden Autumn" was exhibited at the 24th exhibition of the Association of Traveling Art Exhibitions ("Peredvizhniki"), which opened in February 1896 in St. Petersburg, and in March she moved with the exhibition to Moscow. It was also presented at the 1896 All-Russian Industrial and Art Exhibition in Nizhny Novgorod.

In May 1896, straight from the Traveling Exhibition, which by that time was still taking place in Moscow, the painting was purchased from the author by Pavel Tretyakov for 700 rubles. True, the implementation of this transaction was delayed for some reason: Levitan’s first receipt for receiving money for the painting is dated May 10, and in a letter dated May 29, he writes that “yesterday, returning from a trip, I met P. M. Tretyakov, who why “Now I’ve decided to buy my painting “Golden Autumn”, having seen it dozens of times,” and only on June 3 he informs Tretyakov: “My painting “Golden Autumn” has not been sold yet, and therefore I consider it yours. Needless to say, I am very glad that you wanted to have it.”

Continuing its journey with other paintings of the 24th Traveling Exhibition, in November 1896 the canvas also visited Kharkov, where trouble happened to it - it was damaged by a copper visor of a wall heater that fell on it, which broke through the canvas. The artist and representative of the Association for exhibitions Georgy (Egor) Khruslov reported about this incident in a letter to Ilya Ostroukhov dated November 22, 1896:

This morning we had an accident at the exhibition. The paintings were all taken from easels, some lay on the floor, some stood against the walls, everyone was working at one end of the hall. Suddenly, a strong knock is heard at the other end, I run there - it turns out that a heavy copper heater visor has fallen from the wall and fell on the painting by I. I. Levitan “Golden Autumn”, the canvas of the painting is torn through, although the wound is insignificant and can be easily repaired, but, in view of the fact that the painting belongs to P. M. Tretyakov, I humbly ask the board to notify me in Kyiv as soon as possible about what I should do with the painting...

Subsequently, this damage was so skillfully repaired by a Moscow restorer Dmitry Artsybashev that it went virtually unnoticed.

Purchased by Pavel Tretyakov, the painting was donated by him to the Tretyakov Gallery in the same 1896. In the catalogs of 1896 and 1917, this painting appeared under the name “Autumn”. Levitan himself was not entirely satisfied with this work, considering it somewhat “rude.” In 1896, he painted another, less well-known painting with the same name - “Golden Autumn”, which is also in the collection of the State Tretyakov Gallery (canvas on cardboard, oil, 52 × 84.6 cm, inv. 5635).

Description

Levitan loved to paint autumn landscapes - he had more than a hundred paintings associated with this time of year. Among them, the painting “Golden Autumn” became one of the artist’s most famous and popular works. It depicts a small river surrounded by trees covered with yellow and red autumn leaves. In the distance you can see village houses, fields, and further, on the horizon - an autumn forest, painted in shades yellow color. And above all this is a blue sky with light clouds floating across it. The bright, major, optimistic colors of this painting are not characteristic of Levitan’s work - he usually used softer and more delicate tones.

The perspective was successfully chosen, which allows the artist to depict a wide and multifaceted landscape. Despite some asymmetry, the composition of the picture does not seem unbalanced: the congestion of the left side is compensated by “the grouping of objects, the distribution of illuminated and shaded masses, the division of plans.” At the left edge of the canvas there is a close-up of a group of trees - birches with bright yellow foliage and aspens with the last reddened leaves. They create a “bright and sonorous spot”, in contrast to which the river depicted to the right of them seems dark and cold. The surface of the river also looks like a large spot of color, the basis of which is blue, to which are added brownish reflections of the banks.

Following along the river banks, the viewer's gaze crosses wide meadows with copses on both sides of the river, and then goes to the forests depicted in the distance. On the right bank of the river a single slender golden-yellow birch tree stands out. As you move deeper, the sonority of the color gradually softens and turns into a calmer color scheme.

Another parallel between “March” and “Golden Autumn” is that these paintings are considered as examples that most clearly demonstrate the influence of impressionism on Levitan’s work. Indeed, in “Golden Autumn” the expressiveness of the brushstroke is of particular importance, which in this picture is even more energetic and varied than in “March”. In particular, the foliage of birch trees is painted with impasto expressive strokes, where in some places the paint is applied in such a thick layer that it creates the impression of relief. In the painting, the traditional style of painting is naturally combined “with a free, almost impressionistic interpretation of individual details,” but the difference from classical impressionism is that the color does not dissolve in the light, but retains its intensity.

Reviews

Comparing “Golden Autumn” with the painting “March” painted in the spring of the same year, art critic Dmitry Sarabyanov wrote that in the autumn landscape there is no fragmentation, that is, “the feeling of a fragment of nature”, which was inherent in “March”. According to him, the artist was inspired to create the painting “Golden Autumn” by “the unusual color scheme, striking in its effect, in which main role the contrast of gold and blue plays.” At the same time, he noted the natural balance of the composition of the picture, which is “expanded towards the viewer and in width.”

According to art critic Faina Maltseva, the image created in this painting “carries a deep and multifacetedly expressed content,” which “reveals as one looks at what is depicted, as one lyrically empathizes.” In the process of such peering, one can understand that the artist’s goal was not only to convey elegant autumn colors, but also to show “such precious features that help us see behind this elegant, somewhat decorative form an image of great integrity and poetry.”

see also

Notes

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2. Levitan Isaac Ilyich - Golden Autumn (undefined) (HTML). State Tretyakov Gallery Archived on July 8, 2016.
3. , With. 31.
4. , With. 533.
5. , With. 208.
6. Levitan Isaac Ilyich (undefined) (HTML) (unavailable link). State Tretyakov Gallery, www.tretyakovgallery.ru. Retrieved July 10, 2016. Archived July 8, 2016.
7. , With. 137-138.
8. Anton Pavlovich Chekhov - Gorka Estate (undefined) (HTML). Literary map of the Tver region, litmap.tvercult.ru. Retrieved July 6, 2016. Archived September 27, 2012.
9. Margarita Chizhmak. Chronicle of the life and work of Isaac Levitan (undefined) (PDF). magazine "Tretyakov Gallery", 2010, No. 3, p.58-71. Retrieved March 30, 2015.
10. Ilya Sergeev. The genius of Russian landscape - Isaac Levitan and the Tver pages of his biography (undefined) (HTML). “Tverskie Vedomosti” - www.vedtver.ru (August 24, 2012). Retrieved November 22, 2018. Archived March 4, 2016.
11. , With. 51-52.
12. V. I. Kolokoltsov. Deviation to Chekhov's "house with a mezzanine" (undefined) (DOC). From the book “Deviation. Kolokoltsovs in the Tver province", St. Petersburg, 2004. www.vgd.ru. Retrieved July 10, 2016. Archived October 4, 2012.
13. D. L. Podushkov. Anton Chekhov and I. I. Levitan in Udomlya (undefined) (HTML). From the book “Famous Russians in the history of the Udomelsky region”, Tver, 2009. www.gumfak.ru. Retrieved July 10, 2016. Archived September 27, 2012.
14. , With. 56.
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16. , With. 168-169.
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18. Tretyakov Collection: Painting by Isaac Levitan “Golden Autumn” (undefined) (HTML). Radio "Echo of Moscow" - echo.msk.ru. Retrieved July 5, 2016.
19. , With. 60.
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24. , With. 213.

Today “Golden Autumn” is considered the pinnacle of Isaac Levitan’s mastery, but at the time the painting was created, the painter was treated rather biasedly and reproached for wanting to paint landscapes. They say that it is inappropriate for a Jewish artist to take on the work of original Russian masters. Nevertheless, landscapes painted by Levitan occupy first place in the “golden background” of Russian painting.

Isaac Levitan. Self-Portrait (1880)
Isaac Ilyich Levitan(1860 - 1900) was born into an educated, impoverished Jewish family in 1860. In 1870, Father Ilya Levitan decided to move to Moscow in order to somehow escape poverty. Isaac's older brother Abel entered the Moscow School of Painting, Sculpture and Architecture, and 2 years later his younger 13-year-old brother joined him. A couple of years later, the mother of the future artist dies, and his sick father is forced to leave his job and earn a living as a tutor.

The family's constant financial difficulties prompted the school management to provide the Levitan brothers with financial assistance several times “for excellent success.” In the end, they were completely exempted from tuition fees.

Gray day. I. Levintan, 1890s
Isaac Levitan really had success in painting. As his contemporary recalled: “Everything was easy for Levitan, nevertheless, he worked hard, with great endurance.” The landscapes were especially successful.

In the spring of 1888, Levitan, together with his artist friends Alexei Stepanov and Sofia Kuvshinnikova, set off on a steamer along the Oka River to Nizhny Novgorod and further up the Volga. During the trip, they unexpectedly discovered the beauty of the small, quiet town of Plyos. They decided to stay and live there for a while. As a result, Levitan spent three extremely productive summer seasons in Plyos (1888-1890). In the late 1880s - early 1890s, Levitan headed the landscape class at the School of Fine Arts of the artist-architect A. O. Gunst.

About 200 works that he completed over three summers in Plyos brought Levitan wide fame, and Plyos became very popular among landscape painters.

In 1892, Levitan, as a “person of the Jewish faith,” was forced to leave Moscow and lived for some time in the Tver and Vladimir provinces. Then, thanks to the efforts of friends, the artist was allowed to return “as an exception.”

Gold autumn. I. Levitan, 1895.
One of the most famous paintings by Isaac Levitan is “Golden Autumn”, painted in 1895. It belongs to the so-called “major series” of the artist. Soviet art critic Alexey Fedorov-Davydov spoke of this painting as follows: “Golden Autumn” amazes and captivates with the fullness and beauty of its emotional content, so clearly expressed in color splendor, in the major sound of the golden colorful range.”

Levitan himself spoke skeptically about his canvas, calling it rough. During that period he suffered from bouts of melancholy. In the 19th century, this concept meant mental disorder, depression. In addition, Levitan had a bad heart.

Paintings “Golden Autumn” in 2010 at the State Tretyakov Gallery.
When the painting was presented to the public, Pavel Tretyakov acquired it. Levitan was immensely happy. Until the painting was transferred to the Tretyakov Gallery, it was allowed to be exhibited at the exhibition of the Itinerants in different cities of Russia. In Kharkov, an accident happened to the painting: a copper visor fell from one of the heaters and tore the canvas. Today the wound is repaired and cannot be detected with the naked eye.

Essay based on the painting by I. I. Levitan “Golden Autumn”

“Golden Autumn” is a famous painting by I. I. Levitan, dedicated to the beauty of Russian nature. The autumn landscape, created by the famous artist in 1895, is very bright, beautiful and sunny. It evokes special feelings in the viewer and cannot leave anyone indifferent. “The Creator of the Mood Landscape,” as I. I. Levitan was often called, skillfully conveyed the extraordinary beauty of his native land and was able to penetrate the heart of every person who loves and appreciates beauty. “Golden Autumn” made a huge impression on I. Tretyakov, who purchased it for his collection. Currently, the famous landscape of I. I. Levitan is the property of the Tretyakov Gallery.

The painting by I. I. Levitan “Golden Autumn” depicts a birch grove in autumn attire. In the foreground are two aspen trees with almost fallen leaves. Birches with golden tops are located on the left. Special attention It is the birch grove that attracts you, bewitching with its extraordinary golden decoration. Snow-white trunks are dressed in bright yellow-orange outfits. Birch leaves flutter in the wind, shimmer when illuminated by the sun's rays, and shine like gold jewelry. One of these beauties stands alone on the right bank of the river, which overflowed to the right of the birch grove. The water surface is cold and motionless. It, like a mirror, reflects the light blue sky with white clouds and the reddish branches of the bushes growing on the river bank. Its delicate shades picturesquely decorate the left bank. The river surface complements the beauty of the landscape and creates a calm, peaceful mood.

To the right of the river, with still green branches spread out, are willows. With their color they create a contrast between the colors of the coming autumn and the passing summer. But in this invisible battle, victory remains with the fall - the greenery of the willows is no longer as bright and juicy as it is in the summer.

The ground is covered with autumn grass, which still contains green summer shades. But the yellow colors of autumn are inevitably woven into this colorful carpet, and a crimson pattern of fallen leaves appears. All the colors of the grass are bright and saturated, only in some places black spots of tree shadows can be seen.

In the background of the picture one can see the outlines of distant houses, forests and fields sown with winter crops. The fields attract the eye with the bright, lush greenery characteristic of spring, and seem to transport us to another time of the year. The abrupt transition to the yellow-brown grass located to the right of the field reminds us of the reality - autumn reigns in nature.

The painting by I. I. Levitan “Golden Autumn” creates a bright lyrical mood, pleases with the bright colors of autumn nature, awakens love for the native land. It is impossible to take your eyes off such beauty! How could nature create such a miracle that delights us, makes us look more closely, examining small details, delights us and at the same time evokes a lyrical, poetic mood?! It is no coincidence that it was autumn that awakened the desire to dream and create in the hearts of famous Russian poets and writers of different eras:

A. S. Pushkin, M. M. Prishvin, K. G. Paustovsky, in whose works a significant place is devoted to the theme of this particular time of year. “Golden Autumn” by I. I. Levitan is a kind of call: “People! Don’t pass by, pay attention to the fabulous beauty created by nature, admire it, take care of it and save it for posterity!” In our time of technological progress and constant haste, the ability to notice and see beauty is especially valuable. After viewing the painting “Golden Autumn” by I. I. Levitan, I want to find such a place in my small homeland and admire the extraordinary colors of this time of year.