In retrospect my
relationship with the art world of Anatoly Krynsky seems like a long
dream. A dream of art. A dream of life. It seems only
yesterday that in the fields on a hill overlooking the Mediterranean Sea
in south Italy in the summer Anatoly in one month painted under my eyes
his first exhibit in Italy.
That elusive dream is like a passage through Anatoly Krynsky's life
themes: from his transformation of religious iconographic styles into
Russian Constructivism and European Cubism, to his mystical world of
masks, to the magic
centaurs, to the Cherry trees of Central Park.
On his walk of dreams Krynsky has magically transfigured old models from
ancient times with a new spirit of modernism.
Dream-like art in its effect, but unlike a dream in the severity of the
rules of the total artist: I think of his art as an ordered
phantasmagoria. Surrounded by Anatoly's art, I have always seemed
to hear the distant music of one great symphonic composition.
Continue...
Gaither
Stewart, correspondent in Italy for the Dutch daily Algemeen
Dagblag, has written widely on European culture and reported for many
years on East Europe for many European publications. |
