Abstract
<jats:p>The aim of this research is to identify the conceptual content of I. I. Levitan’s landscape painting “Spring, High Water” (1897). The article presents I. I. Levitan’s work as a dialectical unity of essence (meaning) and phenomenon (sign) within a multi-layered structure of a visual concept. The scientific novelty lies in the fact that a structural-semiotic analysis of I. I. Levitan’s landscape is proposed for the first time drawing on C. S. Peirce’s classification of signs and visual structures of the work are offered as a concentrated expression of the essence of its visual concept. As a result of the research, the idea of I. I. Levitan’s landscape is formulated, expressed in the dialectic of immanent and emanative movement between the finite human and the infinite absolute. The embodiment of this idea in the work is presented as a modest corner of Russian nature, where the widespread spring flood reflected the height and purity of the sky.</jats:p>