Near Bordighera. North Italy, 1890 Isaac Ilyich Levitan (1860-1900)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Isaac Ilyich Levitan also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Near Bordighera. North Italy is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

Levitan’s “Near Bordighera. North Italy” encapsulates a subtle and evocative rendering of rural Italian charm. The scene is one of quiet intimacy, featuring a cluster of modest stone buildings nestled closely together against the backdrop of gently rolling hills. These rustic dwellings, marked by irregular, slightly worn façades and uneven rooftops, suggest a village untouched by modern opulence. Sparse greenery, consisting mainly of delicate trees and shrubs, punctuates the earthy foreground, infusing the modest architecture with signs of organic life. One can almost perceive the tranquil silence that envelops these structures, their darkened window openings lending an ambiguous, abandoned quality to the scene.

Levitan's palette here is carefully restrained, a muted harmony of ochres, browns, grays, and soft greens, meticulously interwoven to achieve a sense of balance and cohesion. The subdued, earthy tones produce an atmosphere of contemplative calmness, evoking feelings of nostalgia and serene melancholy. Occasional touches of faded greens, gentle yellows, and warm terracotta hues suggest the subtle vitality and warmth inherent in the southern landscape, yet without overpowering the canvas. Levitan’s nuanced use of color invites the viewer to engage thoughtfully with the painting, encouraging introspection and a quiet appreciation of its emotional depth.

The painting’s technical execution is characterized by Levitan’s adept brushwork and masterful handling of light and texture. His strokes are precise yet fluid, delicately conveying the rough surfaces of weathered stone walls and the softness of distant foliage. His ability to communicate tactile reality through painterly suggestion rather than explicit detail lends the composition its poetic resonance. Indeed, Levitan’s impressionistic approach, employing loose brushwork to convey the sensory essence of the scene, suggests a subtle alignment with contemporary European trends, absorbed during his formative travels through France and Italy.

Compositionally, the painting directs the viewer's eye along a gentle diagonal formed by the rooftops, guiding attention progressively from left to right. This diagonal arrangement imbues the quiet scene with a subtle dynamism, contrasting effectively with the otherwise static nature of the depicted buildings. The foreground vegetation serves as a rhythmic punctuation, gently counterbalancing the solidity of architectural forms. This interplay between static elements and delicate movement creates visual interest, enriching the overall narrative of tranquility that defines the painting.

Levitan’s journey abroad in 1890 profoundly influenced his artistic sensibility, infusing his traditional Russian landscape approach with fresh European impressions. Rather than gravitating toward the luxurious allure of renowned resort towns, Levitan instead found inspiration in the humble authenticity of the Italian countryside. This inclination reflects his intrinsic connection to understated beauty, mirroring his affection for Russia's modest landscapes.

“Near Bordighera” encapsulates this blending of Italian motifs with Levitan’s own distinct artistic temperament. In this canvas, one senses not only a faithful rendering of rural architecture and nature but also a deeper emotional truth—an evocative meditation on the quiet poetry of everyday places. Levitan, in this gentle depiction, captures a universal tenderness, bridging the modesty of Italian village life with the artist’s profound internal world.