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Oil painting Gifts of nature Nikolay Petrovich Krymov

Oil painting Gifts of nature Nikolay Petrovich Krymov

SKU:Vern494

Regular price $1,070.00 USD
Regular price Sale price $1,070.00 USD
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№Vern 494


*** ABOUT THIS PAINTING ***
* TITLE: "Gifts of nature"
* ARTISTS: Nikolay Petrovich Krymov???
* SIZE: 33x24 cm/'12.99x9.44 inches'
* MEDIUM: oil, canvas
* HAND PAINTED: Original painting from our collection

* CONDITION: we tried to convey the maximum information with the help of photos about this product

About the artist: Nikolai Petrovich Krymov was born in Moscow on April 20 (May 2) 1884 in the family of the artist P. A. Krymov, who wrote in the manner of “Wanderers”. Received initial training from his father. The brother of a famous surgeon is A.P. Krymov.

In 1904 he entered the Moscow School of Painting, Sculpture and Architecture, where he first studied in the architectural department, and in 1907-1911 - in the landscape workshop of A. M. Vasnetsov. Participant of the exhibition "Blue Rose" (1907), as well as the exhibitions of the "Union of Russian Artists". He lived in Moscow, spending (since 1928) a significant part of the year in Tarusa.

Already in his early works he joined symbolism - including as a graphic designer of the Golden Fleece magazine (1906-1909). At that time, full-scale impressions were sometimes turned into a shaky, colorful haze, reminiscent of a tapestry rather than a picture (Under the Sun, 1906, Russian Museum). Later Krymov’s paints and forms became increasingly material, but nature, most often deserted, remains no less poetic (The Yellow Shed, 1909, the Tretyakov Gallery; The Morning, 1916, Yaroslavl Museum of Art). The artless simplicity of typical Central Russian motifs is combined in the "classical", Tarusian paintings of the master (Rechka, 1926; At the Mill, 1927; both in the Tretyakov Gallery) with a clear harmony of composition and a special system of "general tone" that translates the landscape into a purely sphere aesthetic contemplation. Considering that the essence of the painting was not paint, but precisely the tone (filling the color with light), Krymov proposed a burning match as an ideal reference point against the background of a wall brightly lit by the sun. He outlined his theoretical views in the article "On an" (1938).
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