The history of the painting is quite prosaic. Isaac Ilyich Levitan wrote it specially as a gift to A.P., who was ill at that time. Chekhov, who was in the Crimean sanatorium and really missed his native lands. Most likely, this is precisely why Levitan depicted in his painting, as approximately as possible, everything that was so close and familiar to Chekhov, and that subsequently contributed to his speedy recovery.
The artist surprisingly accurately selected the time for writing this picture, when the working day is already over, as evidenced by the haystack near the house, and the fact that there are no more people near it, twilight sets in and the working day comes to an end. This is quite difficult, because the very transition from day to night, namely, twilight, is quite fleeting, therefore it was necessary to concentrate as quickly as possible and as quickly as possible, and it’s very important to do the job with high quality. In this picture, we find nature in a kind of transition process.
All nature, as if, begins to wear a night shirt at this moment, and prepares for sleep. The moon begins to rise in the sky, behind the house there is a tree, which, most likely, belongs to the coniferous family. But the charm of this picture is that it conveys the very essence of the state of nature when dusk sets in, and it does not matter what kind of tree it is, how long this house has stood, and so on.
Nature reveals itself to us as completely as possible, at this moment it is completely, under the "authority" of the artist. The whole mystery of nature, as if taken by surprise. The beauty that is observed when changing the dawn, to the evening haze falling on the house, careless strokes with which Levitan seemed to specifically emphasize this trembling hand, a rather exciting moment of the unthinkable and bewitching beauty of nature. It becomes clear that the small details are not important, both in the picture and in nature. Important is the general idea, semantic load.
Composition By Picture Spring Big Water