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Thanks to the perfection of an academic technique of painting, bright coloring and emotional richness Yuri Krotov's work has gained many admirers throughout the world.
Romantic women's images in Yuri Krotov's paintings may be called an echo of the time passed. The serenity of the caught moment is taking us away to the epoque of Mopassan and M. Prust. The sun-lightness of the reality is enchantingly attractive. Models' glance is floating by an onlooker and leading away to the land of dreams and remembrances.
Coloring and half-tints are chosen more delicately. The tenderness of the appearance is emphasized by clear greenness of the garden or bright sea-surface. These are not in the least the concrete portraits, not even the search of a typical face of the second half and the end of the nineteenth century. The image is rather synthesized. A stranger in airy and transparent clouds of light dress lives in harmony with the surrounding landscape: a beach or a shore, a path in an old park, with the sunrays shining through the leafage.
The spirit of the contemplativeness is reflected in the chamber and romantic images created by the artist.
Children are a specific world of emotional experience. Yuri Krotov derives his strength and inspiration while watching his son, or a group of children and their romp on the beach or games in the summer gardens. Here is the very carelessness and naturalness peculiar to the world of a child but disappearing as time progresses. Children do not pose for the artist in the full sense of the word. There aren't any static or constrained poses. They stay in their time and their space, and the artist spies upon them. It may be a portrait of either one child or two of them. It may be as well a multifigured and a more complicated composition where some of the children are drawn up on the impressionistic principal of a stopped shot, and others on the classical principal of a saloon portrait. In both cases there is an ease and freedom in the reproduction of a movement and the naturally childish world of emotions. Here one can see the whole spectrum of emotional characteristics: from playful eyes, and cunning smiles, and clear laughter to the immersion in oneself. Almost always near by and being mutually complementary to this world there are alive friends of the children - dogs and cats, birds and ponies. The world is charming in its fleetingness and originality, and the everyday moments such as a play in the garden, or a breakfast, or a walk are transfigured and poeticized.
A selection of works can be found here on our website:
http://www.petleys.co.uk/works.html
Romantic women's images in Yuri Krotov's paintings may be called an echo of the time passed. The serenity of the caught moment is taking us away to the epoque of Mopassan and M. Prust. The sun-lightness of the reality is enchantingly attractive. Models' glance is floating by an onlooker and leading away to the land of dreams and remembrances.
Coloring and half-tints are chosen more delicately. The tenderness of the appearance is emphasized by clear greenness of the garden or bright sea-surface. These are not in the least the concrete portraits, not even the search of a typical face of the second half and the end of the nineteenth century. The image is rather synthesized. A stranger in airy and transparent clouds of light dress lives in harmony with the surrounding landscape: a beach or a shore, a path in an old park, with the sunrays shining through the leafage.
The spirit of the contemplativeness is reflected in the chamber and romantic images created by the artist.
Children are a specific world of emotional experience. Yuri Krotov derives his strength and inspiration while watching his son, or a group of children and their romp on the beach or games in the summer gardens. Here is the very carelessness and naturalness peculiar to the world of a child but disappearing as time progresses. Children do not pose for the artist in the full sense of the word. There aren't any static or constrained poses. They stay in their time and their space, and the artist spies upon them. It may be a portrait of either one child or two of them. It may be as well a multifigured and a more complicated composition where some of the children are drawn up on the impressionistic principal of a stopped shot, and others on the classical principal of a saloon portrait. In both cases there is an ease and freedom in the reproduction of a movement and the naturally childish world of emotions. Here one can see the whole spectrum of emotional characteristics: from playful eyes, and cunning smiles, and clear laughter to the immersion in oneself. Almost always near by and being mutually complementary to this world there are alive friends of the children - dogs and cats, birds and ponies. The world is charming in its fleetingness and originality, and the everyday moments such as a play in the garden, or a breakfast, or a walk are transfigured and poeticized.
A selection of works can be found here on our website:
http://www.petleys.co.uk/works.html
