The painting, written in 1910, refers to that period in the work of Krymov, when his art was most closely intertwined with the style of A. Kuindzhi. The smooth combination of colors, emotional expressiveness and plastic language of the image - all this is noted by the influence of Kuindzhi and other masters of landscape painting. But at the same time, Krymov’s works preserve his own, spiritualized, contemplative and truly emotional perception of nature, which is found in a city dweller who once saw the true beauty of nature, hiding behind walls and bustle.
In the landscape “Moonlit Night in the Forest”, the artist seeks to combine often opposing painting techniques: fleetingness and naturalness of the impression with decorative images, impressionist generalization and, at the same time, elaboration of subtle details. It is as if nature freezes on canvas, plunging into a poetic-contemplative state with which the artist is permeated.
Krymov considered honesty and naturalness as the main principle in the image, as opposed to deliberate experimentation and originality. The artist tried to catch the peculiarity of nature in its continuous changes and set the visual impression as the main criterion for work. He did not deviate from his principle, even drawing a landscape according to his imagination, and in this case showed a subtle knowledge of nature. The creative method of the master seems extremely simple, but behind this simplicity lies a solid professional foundation based on a rethinking of the canons of the West European school of landscape painting and its own deep artistic culture.
Based on the method of naturalness, Krymov created many amazing landscape works, striking not only with elegant and precise technique, but also with a clean, immediate emotional experience.
Composing By Picture For Yuon New Planet