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Nikolay
Petrovich Krymov
Russia 
1884−1958
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Father Nicholas Krymova, Peter A., graduated from the Moscow school of painting, sculpture and architecture where he studied with Professor Sergei Konstantinovich Zaryanko. The teacher gave the students a good academic school, was able to put their hand and eye from his workshop came out strong professionals. While studying Peter coincided with the stay in school another novice painter, Ivan Shishkin, with whom he was friends and even at one time together in rented accommodation. Getting serious training, Peter became a photographer. He painted portraits of his children, friends, professors of the Moscow University.
He and his wife, Maria Yegorovna, women, cheerful, beautiful, strong-willed character, was a big, happy family of twelve children. The life house, located near the Patriarchal ponds, there was a traditional and measured. The economy led Maria Egorovna and her nurse Wasati, who has worked in the family all my life and, after retiring to rest, lived out their days. If this area of Moscow - a small house with garden, reminiscent of the paintings of Vasily Polenov "Moscow courtyard" or "grandma's garden", the family life is similar to the description of this time in Russian classical literature: fun Christmas tree, the spiritual enlightenment during the days of Easter, the joyful excitement when ninth of March in the poultry market and square Pipe released from the cells of birds.
When the older sons, Vasily and Alexei, students at universities, they, along with friends arranged musical evenings, performed plays, living pictures. Ran to the gallery in a private Opera of Savva Mamontov listen to Feodor Chaliapin, and in a Small theatre to watch performances with Maria Yermolova and Olga Sadovskaya.
Peter A., who taught life drawing at Moscow grammar schools, was sensitive to the artistic education of their children. It was he who instilled in them a love for nature, taught to see the world vividly, clearly, to perceive its real beauty. Noticing his youngest son, Nicholas, the craving to draw (the eldest son, Basil, as well as the father have already been painter and teacher), taught him to work from nature and from memory. The father was preparing Nicholas, who graduated by the time real school to enroll in the native School of painting, sculpture and architecture, where he was adopted by the second on the list in 1904. He first studied at the architectural Department, and in 1907 he transferred to the painting. Among the teachers of Nikolai Krymov first of all should be called Valentin Serov, Leonid Pasternak, Nikolay Kasatkin.
As a creative personality it was a completely different master. Nikolai Alekseevich Kasatkin, a representative of the younger generation of artists, the Wanderers, according to contemporaries, was a teacher strict and very demanding.
Versatile educated Leonid Pasternak, father of the famous poet Boris Pasternak, a brilliant Illustrator of the works of Leo Tolstoy, by nature is very soft, sought the school to create an atmosphere of trust attention of teachers to students. "Our school of painting, sculpture and architecture and was the best of its kind, the only art school - like diversity and freedom of art education and teaching and exceptional composition distinguished faculty artists and lack of red tape, which normally serves as a brake in the artistic development and learning," he later recalled.
The most radical Converter of the educational process was Valentin Serov. The tasks that he set before the disciples, at first they were alarmed. What cost him in the midst of working on a picture of a model: "a Model is not delivered for a month, but only for three nights. No backgrounds, no shading. Naked figure - and nothing else! No sauce, no rostoski. Charcoal and pencil - that's all. Tired of pictures like flaps!" The reform produced by Serov in teaching drawing and painting, also referred to sketches. The highest rating is now deserved not only the composition, well executed oil or watercolor, but pencil sketches from nature, if they felt a watchful eye. Serov thought highly composite "grip", or just "artistic approach to the art of drawing", recalled his student Nikolai Ulyanov.
But his main teacher Nikolai Krymov thought of Isaac Levitan. "Personally, Levitan I didn't know as he entered the School of painting and sculpture, ...when Isaac Ilyich was already dead. Since the first years of my independent creative life I was struck by Levitan his unusually fine eyesight, the ability to convey moments of the day and the character of Russian nature... Landscapes Levitan is so wonderful that at extremely skillful writing and the freedom of his technology, they surprisingly material, airy and true," wrote Krymov. The first and very successful painting experiments of the young artist showed that landscape painting came citizen, able to see the nature among the houses and roofs, to "hear" her secret life among the urban noise. The exhibition of pupils ' works a little sketch "Rooftops under snow" (1906) so interested in the school teacher Apollinarius Vasnetsov, brother of the famous Viktor Vasnetsov that he got the job. Absolute "randomness" of the composition of the landscape reminds a modern viewer of the cinematic frame, and the softness of the color solution brings to mind the quickly changing "picture" of the dream. Student working twenty-two year old artist praised other artists, and in two years by decision of the Council of the Tretyakov gallery it was bought for the Museum.
Today, in our vain, noisy time looking at works such as "Sunny day" (1906), where the thin transferred mesmerizing silence clear winter's day, I sincerely regret that in Moscow such a motive is not found. On the canvas, as in the painting "the spring", there is a special kind of universality, expressed in the exact solution of light and shadow on the walls and roofs of the low houses. This game is lit and not lit by the sun surfaces makes you wonder about the Sun, as the sun, giant hot ball whose heat and light to support life on Earth.
Krymov in the film "Sunny day" tactfully connects small and large, casual and great. There's not a single actor (even the birdhouse is empty). But despite the silence, captured on canvas, think it sounds powerful chorus that celebrates life in all its manifestations. Harmonious clarity and simplicity of the picture, devoid of detail, - all together represents the significance is not life, but existence. Not surprisingly, the picture was once in the house such a demanding collector, Vladimir Osipovich Hirschmann.

The closest friend of the artist at this time was the artist Nikolai Sapunov, a little later they were joined by Georgy Yakulov. All three were men very different, but equally funny and witty. After a day of hard work Krymov friends loved to gather at Vsevolod Mamontov, son of the famous Savva Mamontov. There have been many artists and architects, sometimes all night Konstantin Korovin entertained them with his stories. Nikolai Petrovich was a man of very gambling: with friends at the coffee shop Filippova played pool, went to the races. Once on Tverskoy Boulevard in the restaurant pavilion "the Greek" this gay company of artists performed sets-stages: "Spanish cabaret" painted air vents "Caucasian Dukhan" - Yakulov, and the "Russian restaurant" - Krymov. Actor Ivan Moskvin portrayed sex, in teapots served champagne. From that time began a friendship with the actor Krymov that lasted a lifetime. But, despite all this mischief, Krymov had always understood the importance of the role of the artist, who must be a person, to do what she loves, otherwise there will be no art, no creativity, no life.

Krymov has lived a long, 74-year life, which seemingly took place without visible disturbances and tragedies. But, perhaps, a special inner strength and spiritual vitality of man, which, as men of his generation, has dropped three wars and three revolutions. Outwardly, his life was filled with memorable moments: he had never been abroad, he had no need to travel around the country.
Forever remembered travel, Chaliapin, on the Volga, but it was more in the episode than the rule. Even the Crimea, where he visited in his younger years, not had a proper impression. But places in Ryazan, Moscow region, Zvenigorod, Moscow gave the artist a never-ending impetus.
The man is very specific views on art, he did not share the theories of the Russian avant-garde early XX century, finding enough caustic words to describe them. At the same time, he never flirted with the authorities, did not write an alien who has avoided everything that did not correspond to his conception of the role of the artist in life and in art. Hot creative youth of the 1930-ies - Fyodor Reshetnikov, Arcadia Genesage, Dmitry Domogatskiy, Konstantin Dorokhov, George Rublev, Kukryniksy, Alexei Eiseman and others, he was the epitome of high art traditions, the epitome of which for him were Repin, Serov, Levitan, Korovin. It was always surrounded by young artists, even those who had not studied, was happy to hear opinions about his work from "the artist".
Outwardly, the life of the artist was modest and something "Patriarchal". Forty-two years, from 1916, he lived with his wife, Elena Nikolaevna, the daughter of artist Dosekin, in a small apartment in Poluektova lane near Prechistenka. He never had a workshop for work and when he was in Moscow, not at the cottage, wrote his works at a balcony window in the dining room. Life put a new canvas on an easel that once belonged to Serov was transferred to the widow of the Artist Valentin Alexandrovich. All his life kept a wooden plank for painting, the gift of Serov, his teacher at the school, and only a seventy-year old man wrote to her favorite Tarusa landscape.

He never wanted accolades and awards - they found him: Krymov was conferred the title of Honored artist of the RSFSR in 1942 and the people's artist of the RSFSR in 1956. Since 1949 he was a correspondent member of the USSR Academy of arts, and in 1954, in connection with the 70th anniversary was awarded the order of red banner of Labor. There was a special connection between the works of Nikolai Petrovich, his works and collectors. Paintings of the artist acquired artists and art-lovers. His landscapes were in the collections of prominent collectors in Moscow early XX century: Alexei Vikulovich Morozov and Ilya Ostroukhov, the famous dressmaker of Nadezhda Petrovna Lamanova, and many others. Lydia Brodskaya recalled that he often admired his beautiful works hanging in the collection of her father, the artist Isaac Brodsky. When in the Tretyakov gallery in 1922, was opened personal exhibition of the artist works has provided more than fifty of the Moscow collectors.
His paintings adorn not only the Museum collections, and private homes. Probably every viewer finds in them something precious: organic commensurability of the feelings and experiences of the human soul and the natural world. Though about himself and his work, Nikolay Petrovich has noticed with his characteristic humor: "I can write only bushes and fences, but I make the best."



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