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 marked by the influence of Kuindzhi and other masters of landscape painting. But at the same time, Krymov’s works preserve his own, inspired, contemplative and truly emotional perception of nature, which is found in a city dweller who once saw the real beauty of the surrounding nature, hiding behind walls and bustle.
In the landscape of “Moonlit Night in the Forest”, the artist seeks to combine the often opposite techniques of painting: the glibness and naturalness of an impression with the decorativeness of the image, the impressionistic generalization and at the same time the elaboration of fine details. Nature seems to freeze on canvas, plunging into a poetic and contemplative state that the artist is imbued with.
The main principle in the image of Krymov considered honesty and naturalness, as opposed to deliberate experimentation and originality. The artist tried to capture the uniqueness of nature in its continuous changes and put the visual impression of the main criterion of the work. He did not depart from his principle, even painting the landscape according to his imagination, and in this case he 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 Western European school of landscape painting and its own deep artistic culture.
Relying on the method of naturalness, Krymov created a lot of amazing landscape works, which amaze not only with their elegant and precise technique, but also with a pure, immediate emotional impression.