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Lace bolero featuring a cropped cut, and a rear button loop closure. Made in England. 80% COTTON 20% POLYESTER

Lace bolero featuring a cropped cut, and a rear button loop closure. Made in England. 80% COTTON 20% POLYESTER

Lace bolero featuring a cropped cut, and a rear button loop closure. Made in England. 80% COTTON 20% POLYESTER

This is the first western study of the renowned Russian nineteenth-century landscape painter, Isaak Levitan (1860-1900).Published to coincide with the recent opening of the 'Russian Landscape Painting' exhibition in Groningen, Netherlands.Born into a poor Jewish family in Lithuania, Levitan was able to enrol at the Moscow School of Painting when aged only thirteen and made rapid progress, the great merchant collector, Pavel Tretyakov buying one of his early paintings. In 1876 he sketched in the Crimea and during the summers of 1887 and 1890 he painted in the Volga region. These years saw the development of his long friendship with the future playwright Anton Chekhov and the creation of his first 'mood landscapes'.Levitan travelled extensively, if briefly, in Europe, visiting Berlin, Paris, north Italy, Switzerland, Munich and Vienna and was thus, unlike most of his Russian comtemporaries, well aware of the artistic trends in the west. His experience of European painting added considerably to the breadth of his vision in depicting the Russian terrain. In doing this Levitan sought simple but well-loved motifs of the countryside, portraying them in an increasingly laconic and intelligent way. Levitan's scenes of fields and forests at twilight achieve an extraordinary atmospheric veracity, while his joyful evocations of the Russian spring are noted for their expressive lyricism. His work was greatly admired by Diaghilev, the legendary theatre manager Stanislavsky, and the world-famous opera singer Chaliapin.Towards the end of his short life Levitan exhibited regularly with the Itinerants (the Russian association for travelling exhibitions) and with the Munich Secession and was responsible for revitalising the teaching of landscape painting in Moscow.

This is the first western study of the renowned Russian nineteenth-century landscape painter, Isaak Levitan (1860-1900).Published to coincide with the recent opening of the 'Russian Landscape Painting' exhibition in Groningen, Netherlands.Born into a poor Jewish family in Lithuania, Levitan was able to enrol at the Moscow School of Painting when aged only thirteen and made rapid progress, the great merchant collector, Pavel Tretyakov buying one of his early paintings. In 1876 he sketched in the Crimea and during the summers of 1887 and 1890 he painted in the Volga region. These years saw the development of his long friendship with the future playwright Anton Chekhov and the creation of his first 'mood landscapes'.Levitan travelled extensively, if briefly, in Europe, visiting Berlin, Paris, north Italy, Switzerland, Munich and Vienna and was thus, unlike most of his Russian comtemporaries, well aware of the artistic trends in the west. His experience of European painting added considerably to the breadth of his vision in depicting the Russian terrain. In doing this Levitan sought simple but well-loved motifs of the countryside, portraying them in an increasingly laconic and intelligent way. Levitan's scenes of fields and forests at twilight achieve an extraordinary atmospheric veracity, while his joyful evocations of the Russian spring are noted for their expressive lyricism. His work was greatly admired by Diaghilev, the legendary theatre manager Stanislavsky, and the world-famous opera singer Chaliapin.Towards the end of his short life Levitan exhibited regularly with the Itinerants (the Russian association for travelling exhibitions) and with the Munich Secession and was responsible for revitalising the teaching of landscape painting in Moscow.

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Levitan's lyrical, expressive evocations of the Russian countryside are little known in the West and this book is intended as an introduction to his life and work. It describes the artist's training in Moscow, his youthful visits to the Crimea and the Volga region and the creation of the "mood landscapes" which won him early recognition.   The employment of motifs typical of rural Russia and the innovative nature of his art are made clear.  New light is shed on Levitan's awareness of artistic trends in late nineteenth-century Paris, Berlin, Munich and Vienna and the ways in which such exposure honed his vision of the Motherland. This publication will hopefully endear western readers to the output of this outstanding artist, whose landscapes earnt him the lasting admiration of Chekhov, Stanislavsky and Diaghilev. This revised edition expands the sections on landscape painting in Russia and on Levitan's links with the Munich Secession. Included are new illustrations, including his Marsh at Evening recently sold by Christie's London for £1.24 million.

Levitan's lyrical, expressive evocations of the Russian countryside are little known in the West and this book is intended as an introduction to his life and work. It describes the artist's training in Moscow, his youthful visits to the Crimea and the Volga region and the creation of the "mood landscapes" which won him early recognition.   The employment of motifs typical of rural Russia and the innovative nature of his art are made clear.  New light is shed on Levitan's awareness of artistic trends in late nineteenth-century Paris, Berlin, Munich and Vienna and the ways in which such exposure honed his vision of the Motherland. This publication will hopefully endear western readers to the output of this outstanding artist, whose landscapes earnt him the lasting admiration of Chekhov, Stanislavsky and Diaghilev. This revised edition expands the sections on landscape painting in Russia and on Levitan's links with the Munich Secession. Included are new illustrations, including his Marsh at Evening recently sold by Christie's London for £1.24 million.

Isaac llyich Levitan (1860 -1900) was a classical Russian landscape painter who advanced the genre of the "mood landscape". Isaac Levitan's hugely influential art heritage consists of more than a thousand paintings, among them watercolors, pastels, graphics, and illustrations. Levitan's work was a profound response to the lyrical charm of the Russian landscape. Levitan did not paint urban landscapes; with the exception of the View of Simonov Monastery and the city of Moscow appears only in the painting Illumination of the Kremlin. During the late 1870s he often worked in the vicinity of Moscow, and created the special variant of the "landscape of mood", in which the shape and condition of nature are spiritualized, and become carriers of conditions of the human soul. During work in Ostankino, he painted fragments of the mansion's house and park, but he was most fond of poetic places in the forest or modest countryside.

Isaac llyich Levitan (1860 -1900) was a classical Russian landscape painter who advanced the genre of the "mood landscape". Isaac Levitan's hugely influential art heritage consists of more than a thousand paintings, among them watercolors, pastels, graphics, and illustrations. Levitan's work was a profound response to the lyrical charm of the Russian landscape. Characteristic of his work is a hushed and nearly melancholic reverie amidst pastoral landscapes largely devoid of human presence. Fine examples of these qualities include The Vladimirka Road, 1892 Evening Bells, 1892, and Eternal Rest, 1894. Though his late work displayed familiarity with Impressionism, his palette was generally muted, and his tendencies were more naturalistic and poetic than optical or scientific.

New, direct from the publisher

New, direct from the publisher

Antosha and Levitasha is the first book in English devoted to the complex relationship between Anton Chekhov and Isaac Levitan, one of Russia's greatest landscape painters. Outside of Russia, a general lack of familiarity with Levitan's life and art has undermined an appreciation of the cultural significance of his friendship with Chekhov. Serge Gregory's highly readable study attempts to fill that gap for Western readers by examining a friendship that may have vacillated between periods of affection and animosity, but always reflected an unwavering shared aesthetic. In Russia, where entire rooms of galleries in Moscow and St. Petersburg are devoted to Levitan's paintings, the lives of the famous writer and the equally famous artist have long been tied together. To those familiar with the work of both men, it is evident that Levitan's "landscapes of mood" have much in common with the way that Chekhov's characters perceive nature as a reflection of their emotional state. Gregory focuses on three overarching themes: the artists' similar approach to depicting landscape; their romantic and social rivalries within their circle of friends, which included many of Moscow's leading cultural figures; and the influence of Levitan's personal life on Chekhov's stories and plays. He emphasizes the facts of Levitan's life and his place in late nineteenth-century Russian art, particularly with respect to his dual loyalties to the competing Itinerant and World of Art movements. Accessible and engaging, Antosha and Levitasha will appeal to scholars and general readers interested in art history, late nineteenth-century Russian culture, and biographies.

On 18 July 1943, one-hundred and twenty Jews were transported from the concentration camp at Drancy to the Lévitan furniture store building in the middle of Paris. These were the first detainees of three satellite camps (Lévitan, Austerlitz, Bassano) in Paris. Between July 1943 and August 1944, nearly eight hundred prisoners spent a few weeks to a year in one of these buildings, previously been used to store furniture, and were subjected to forced labor. Although the history of the persecution and deportation of France’s Jews is well known, the three Parisian satellite camps have been subjected to the silence of both memory and history. This lack of attention by the most authoritative voices on the subject can perhaps be explained by the absence of a collective memory or by the marginal status of the Parisian detainees - the spouses of Aryans, wives of prisoners of war, half-Jews. Still, the Parisian camps did, and continue to this day, lack simple and straightforward descriptions. This book is a much needed study of these camps and is witness to how, sixty years after the events, expressing this memory remains a complex, sometimes painful process, and speaking about it a struggle.

Antosha and Levitasha is the first book in English devoted to the complex relationship between Anton Chekhov and Isaac Levitan, one of Russia's greatest landscape painters. Outside of Russia, a general lack of familiarity with Levitan's life and art has undermined an appreciation of the cultural significance of his friendship with Chekhov. Serge Gregory's highly readable study attempts to fill that gap for Western readers by examining a friendship that may have vacillated between periods of affection and animosity, but always reflected an unwavering shared aesthetic. In Russia, where entire rooms of galleries in Moscow and St. Petersburg are devoted to Levitan's paintings, the lives of the famous writer and the equally famous artist have long been tied together. To those familiar with the work of both men, it is evident that Levitan's "landscapes of mood" have much in common with the way that Chekhov's characters perceive nature as a reflection of their emotional state. Gregory focuses on three overarching themes: the artists' similar approach to depicting landscape; their romantic and social rivalries within their circle of friends, which included many of Moscow's leading cultural figures; and the influence of Levitan's personal life on Chekhov's stories and plays. He emphasizes the facts of Levitan's life and his place in late nineteenth-century Russian art, particularly with respect to his dual loyalties to the competing Itinerant and World of Art movements. Accessible and engaging, Antosha and Levitasha will appeal to scholars and general readers interested in art history, late nineteenth-century Russian culture, and biographies.

On 18 July 1943, one-hundred and twenty Jews were transported from the concentration camp at Drancy to the Lévitan furniture store building in the middle of Paris. These were the first detainees of three satellite camps (Lévitan, Austerlitz, Bassano) in Paris. Between July 1943 and August 1944, nearly eight hundred prisoners spent a few weeks to a year in one of these buildings, previously been used to store furniture, and were subjected to forced labor. Although the history of the persecution and deportation of France’s Jews is well known, the three Parisian satellite camps have been subjected to the silence of both memory and history. This lack of attention by the most authoritative voices on the subject can perhaps be explained by the absence of a collective memory or by the marginal status of the Parisian detainees - the spouses of Aryans, wives of prisoners of war, half-Jews. Still, the Parisian camps did, and continue to this day, lack simple and straightforward descriptions. This book is a much needed study of these camps and is witness to how, sixty years after the events, expressing this memory remains a complex, sometimes painful process, and speaking about it a struggle.

For 22 years, Chana Levitan has been educating, mentoring, and enlightening people about how to find real potential in their relationships. Her classes on the topic are standing-room only. With this book, she is finally sharing her knowledge with a bigger audience. You'll find a smart, clear relationship guide with 10 essential questions that need to be asked before and during the dating process in order to spot long-term potential. Filled with real-life anecdotes and insightful dating advice, these chapters will help you better understand yourself and what you really need to succeed in building a loving marriage. There is no rule that heartbreak must be a prerequisite for good judgment! I Only Want to Get Married Once will help you get it right the first time and gain the confidence to steer through the decision making process of dating.

For 22 years, Chana Levitan has been educating, mentoring, and enlightening people about how to find real potential in their relationships. Her classes on the topic are standing-room only. With this book, she is finally sharing her knowledge with a bigger audience. You'll find a smart, clear relationship guide with 10 essential questions that need to be asked before and during the dating process in order to spot long-term potential. Filled with real-life anecdotes and insightful dating advice, these chapters will help you better understand yourself and what you really need to succeed in building a loving marriage. There is no rule that heartbreak must be a prerequisite for good judgment! I Only Want to Get Married Once will help you get it right the first time and gain the confidence to steer through the decision making process of dating.