Krymov is a brief biography

Krymov in the year in Moscow. From an early age, he grew up in an atmosphere of art. At home, they painted a lot of painting, they argued about art, about its tasks and methods of work. Nikolai Petrovich’s father - P. Krymov, who received art education at the School of Painting, Sculpture and Architecture at prof. Zaryanko, taught drawing in Moscow gymnasiums. The elder brother Vasily was also an artist and also a teacher.

Naturally, the boy reached for a pencil and paints, filling his school notebooks and textbooks with images of the surrounding world and primarily landscapes. This children's hobby receives all kinds of support in the family. The father willingly deal with him, preparing for admission to the school. In the year, N. Krymov successfully withstands the competition, showing at the entrance exam the good professional training and masterful ownership of the pattern received from his father.

The teachers of N. Krymov in the school of painting, sculptures and architecture were wonderful Russian artists and sensitive teachers V. Serov, L. Pasternak, N. Kasatkin, which largely contributed to the rapid formation of his creative individuality. Recognition came to N. Krymov early. One of the first independent works of the artist, the “roofs under the snow”, exhibited at the next student exhibition, was acquired by A.

Vasnetsov, and two years later the Council of the Tretyakov Gallery, headed by V. Serov, acquired it for the gallery. He graduated from N. Krymov to the school in the year. But long before its end, he participates at various art exhibitions of the partnership of Moscow artists, “Blue Rose”, “Wreath”, at exhibitions of the Union of Russian Artists, uniting the best artistic forces of Moscow, whose member he became a year, while still a student.

The work of N. Krymov is highly appreciated by the artistic community. They write about him, his works are reproduced, and the largest magazine of the time “Apollo” places a large article in which the Crimeov created by N. Krymov understand in detail during his stay at the school, in essence, still student works, seeing in them “something more than the experiments of a promising young artist”.

The article says that youthful work N. Krymova "attracted attention to his pure and living lyrism, the artist’s ability to take a completely simple, small topic and deeply soak it with his feeling." In a word, in the early works of this wonderful artist in the bud, it was already what later became the basis of his work.

However, the creative path of N. Krymov was not so simple and clear. The years spent at the school, and the first years of independent creative life, have been years of tense searches for their artistic language, their vision of the world. Subsequently, the artist will remember this period in his autobiography: “At first I wrote very modestly and truthfully.

Then, under the influence of the currents prevailing at that time in painting, I became interested in various searches. In the year, I again began on a realistic path and in my future development I wrote a lot from nature and sought to portray nature beautifully. ” Indeed, from the artless simplicity and truthfulness in the transfer of nature states: “roofs under the snow”, “by spring” “Summer” “Sunny Day” N.

Krymov moves to the creation of the “Blue Roses” refined in the spirit of “Blue roses” such as “after the rain”, “two rainbows”, with their conditional color scheme and somewhat manual human figures, then to imitation of the folk bast, inhabiting their own, mostly truthfully written, landscapes of some kind of primitative, somewhat coarsely coarsely doll characters, as if playing out uncomplicated genre scenes.

These are some works of the year - “Square”, “Tractor”, to some extent “Rainbow”. In these works there is some fragmentation, description. However, this hobby quickly passes, and in the same time N. Krymov writes a number of landscapes, intense in color sound, characterized by a sharp, deliberate generalization of forms, conditionally decorative character “yellow barn”, “cloud”.

In other works of this period, he strives to transmit violent effects in nature, seeks the greatest expressiveness in the transmission of the thundercloud, storms, rain: the wind drives clouds, stiffs trees, lifts roadside dust. Everything in nature is full of rapid movement “Wind Day”, “Herd”, etc. Many works of this period are full of mild humor so characteristic of the nature of N.

Krymov, which will later be shown in his theatrical work. How much naive immediacy and theatrical entertainment, some deliberate “non-sunsemble” and at the same time a label of observation in the interpretation of human figures and animals, and in the landscapes themselves. A born colorist, from childhood in love with nature, subtly feels her various states, N.

Krymov seeks to convey his sense of nature, his knowledge and observations, without resorting to work from nature, as if afraid to be constrained by the immediacy of vision.He composes his landscapes and still lifes in the workshop, achieving almost classical construction, strict balance of individual parts of the landscape, some special majestic calm - “at the dawn”, “at noon.

On the road ”,“ Dawn ”trying to get rid of the famous stiffness, to which his work inevitably led from himself. Krymov spends the summer months in one of the picturesque places of the Moscow Region, working hard and hard from nature. In the works of these years, live breath of life appears, living, specific observations. However, the artist still interferes with the fear of direct communication with nature, the task of creating a “thoughtful and meaningful”, somewhat conditional image of nature.

Such, for example, is a “landscape with a pond” with this artificial blackness of trunks, with sharply emphasized shadows and clear contours, with fragmentation in the image of foliage and the greens of the pond. Despite the overall observation and, it would seem fidelity to nature, there is still no general generalization in work, that freedom of the picturesque language that are given only by deep knowledge of nature, the ability to find in the very nature of those unusually subtle and faithful color combinations that are characteristic of this state, which will become a feature of Krymovsky painting in the recent future.

Recycling what he saw in accordance with his idea of ​​nature, he strives to create an ideal landscape, in which the immediacy of the life impression would be brought into some kind of decorative harmony. In order to strengthen and convey to the viewer a certain state of nature, he revives his landscapes with figures of people - then this is a swimsuit by the river, then lit by the setting rays of the sun, a female figure sitting on the shore of a pond.

However, they do not organically fit into the landscape, do not constitute a single whole with it. Later, in an interview with young artists, N. Krymov, advising them to be closer to nature and, possibly, recalling their own early hobbies. This leads to salon. " The enormous influence on the final formation of the creative individuality of N. Krymov, according to the artist himself, had I.

I could not understand why, how Levitan was freely, convincingly, convincingly and completely, knew how to portray grass, huts, trees and sky. Flowing all the flowers, all the details of the landscape, I still could not achieve the correct transmission of this materiality of different elements of nature. I was painfully looking for the solution of this problem, I gradually began to approach the truth.

So, once, working on a landscape on a gray day, I overlined the general tone of the study and, no matter how I tried to convey the details of the landscape, nothing came out for me. Then I realized that the mistake is in the incorrectly taken by a general tone. In tone in painting, I call the degree of aperture of color, and in a common tone - a general darkening or a lightness of nature at the corresponding moments of the day.

Painting is a transmission of visible material in a tone plus color. Indeed, checking this situation on the best works of Russian and foreign painting, I was convinced that where the artist correctly found the general tone of the picture, there are objects, earth, heaven - everything lives a genuine, full -blooded life. When the correct general tone was found, the artist is already much easier to write all the details.

He can no longer take care of the decoration; On the contrary, it is often enough one right hint, one true spot so that the image begins to be perceived as a real object. Levitan’s landscapes are remarkable that with an extremely wide letter and freedom of his technique, they are surprisingly material, airy and truthful. ” These words can fully be attributed to the works of N.

already in the years, N. Krymov finds his own method, which provides the opportunity with impeccable accuracy to convey the wealth and subtlety of color transitions existing in nature. The whole creative life of the artist is a further improvement and deepening of his method, his creative manner. A carefully developed theory of tonal painting gives him complete freedom in handling life material.

Like no one else, N. Krymov can with such force, so deeply and truthfully convey the beauty and charm inherent in nature, awakening in the viewer a sense of joy from knowledge of the objectively existing beauty of the world. Krymov with enthusiasm writes cozy, drowning in the green gardens of the Savvin Sloboda near Zvenigorod, whimsical bends of the river, a silver ribbon of the “river”, which were overgrown with the snow -shrugged, the streets of the quiet provincial towns “winter landscape”, “in the winter in the province”, and the trees, and the trees, and the cups of trees, the trees, the trees, the trees, the trees, the trees, the trees, the trees, the trees.

The winds above the river, lit by the rays of the setting sun of sheds, rural outskirts, abandoned mills. Over the past thirty years of his life, N. Krymov from early spring to late autumn lives in Tarusa, on the banks of the Oka, in numerous beautiful landscapes, capturing this extremely picturesque friendly town and its environs.Despite the apparent monotony of motives, it never repeats, discovering more and more new aspects, all new and new poetry in the simplest, most commonplace, surrounding us of everyday reality.

With subtle skill and poetic penetration, N. Krymov conveys various states of nature at different times of the day and year. Clear gentle sunny day, drunken trees filled with heat, in hotly languor, quiet streets, or a gray day with small drizzling rain and low hung gloomy sky, with softly melting outlines of objects- winter twilight, or early morning with cold, blue shadows, or rays of the setting sun, golden tops of trees and bright flashing on the walls of houses.

To the works of N. Kramsky: “If you write a picture consisting of this blue air and mountains, without a single cloud, and convey it like it is in nature, I am sure, the criminal plan of a person who looks at this picture, full of grace and endless celebration and purity of nature, will be delayed and will appear throughout his ugly nudity.” The works of N. Krymov are full of this “endless celebration and purity of nature”, they are the anthem of the beauty of life, the beauty of the earth, and this is their deep humanistic, patriotic character.

Sitnina Additional information: The interpanorama salon for his exposition will buy paintings and graphics of the artist Krymov Nikolai Petrovich. Photos of paintings can be sent to Artpanorama Mail.