Birch Grove, 1889 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 Birch Grove is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

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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.

The scene in this late 19th-century painting presents an assembly of slender birches elegantly rising from a carpet of emerald grass, dappled by sunlight that filters through the canopy of gently fluttering leaves. The viewer is greeted by a chorus of vertical trunks - their snowy bark accented with dark flecks - set against a lush backdrop of greenery. Although the subject matter is ostensibly simple, the artist imparts a palpable sense of movement and life, capturing the spirit of a sunlit forest at midday. The relative sparseness of human intervention in the grove highlights the natural rhythms and harmony of the landscape, invoking a sense of entering into nature’s own realm.

A distinguishing element of this composition lies in the color palette, comprised primarily of translucent greens and warming yellows. These hues interact to create a sense of quivering light across the forest floor, as if each blade of grass catches a fleeting sunbeam. The delicate birch trunks, painted in swift, carefully modulated strokes, reveal gradations of ivory punctuated by subtle, tawny accents. The presence of delicate blues and violets, interspersed in the grass and shadows, adds variety, suggesting the coolness of shade against the sunlit ground. By layering these luminous tones, the work conveys an overall impression of freshness and buoyancy, drawing viewers into a sensory experience of rustling leaves and softly glinting light.

The artist’s technique demonstrates a notable shift toward an impressionistic style - visible in the rhythmic, fragmented brushstrokes that serve to capture the fleeting effects of light. The composition leads the eye through the grove’s vertical lines, which seem to recede into the tranquil depths of the forest, evoking both intimacy and expansiveness. This sense of immediacy in the portrayal of nature aligns with the broader cultural moment in Russian painting, wherein depictions of landscapes sought to reveal a deeper emotional resonance. Contemporary commentary observed that the painter exposed “the modest and intimate” dimension of the countryside, seeking to express the poetic, often ephemeral moods held within the natural world. Such an approach signaled the dawn of “landscape-mood” painting, wherein the viewer is invited not only to witness, but also to feel the hum of summer greenery - that intangible, “divine something, spilled everywhere.” Through deft brushwork and tonal subtlety, this canvas remains a quietly compelling glimpse into nature’s vibrant pulse.