online exhibitions:
Canyon
Landscapes
Italy Revisited
Stonehenge
Landscapes
online
retrospectives:
Blue and Red
Centaur
Series
Central Park Landscapes
Clownade
Duality
Face to Face
Human Kind
Masks
Neo Cubo-Futurism
Princess
Sculptural
Sand Reliefs
Song of Love
Still Life
Time of Beauty
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the artist:
Artist
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| Commentary by
Franco Miele |
Imagination
implies a vigil and assiduous implementation of reason in order to break
effusions of emotions in the creative process and placate interior
tensions without destroying the roots.
When Krynsky undertakes the mystic celebration of the saints in his
works that recall the icons of the XV-XVII centuries, we see that the
clarity of Rublev, the elegance of Dionisy, and the refinement of the
Stroganov School, are reprised with new accents that tend to humanize
the divine. That is possible because the artist’s control of his
expressive materials is one with his original creative charge.
In his way, Anatoly Krynsky attests his loyalty to Byzantine
spiritualism. Yet, he exalts it with a new voice, and, breaking the
Slavophile container, he surpasses any populist lines and achieves
unexpected openings toward Western culture. It is Krynsky’s merit that
he has developed his “discourse” and has been able to transfigure
Eastern mysticism within the polyphonic richness of Europe.
The same procedure is evident in the paintings and sculptures that we
have defined as Constructivist and Cubist, where the colors become
increasingly intense as they unfold in a broad spatial plan where
nothing is left to chance. Like G. Braque, Anatoly Krynsky can say: “I
love the rule that corrects emotion.”
Anatoly Krynsky again demonstrates that art is the kingdom of freedom
that must discipline itself in order not to degenerate into anarchy,
because the “aesthetic message” is not the tumultuous reflection of
a more or less fascinating situation but the concrete signification of
the individual who wants to dialogue poetically with others.
Franco Miele |
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