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Portrait
of a painter hermit |
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George Ivanovitch
Krug was born in Saint-Pétersbourg on January 5, 1908.
Son of a protesting industrialist of Swedish extraction
and of a Russian and orthodoxe mother, it was high in the
religion Lutheran. It passed its childhood to Narva in
Esthonie where its family settled in 1921. Its secondary
studies, it followed them in the Russian college of this
same city. There, it began its artistic formation while
being initiated with the technique of the watercolour, in
the workshop of the Semionov painter. Its finished
studies, it entered in 1926 to the Technical school of
Tallin the graphic workshop directed by Reindorf. It
carried out there a series of engravings which were
exposed among best work of the graduate pupils of the
School. The National Museum of Tallin noticed its
talented work and bought two of these etchings. It is the
urban topic which it chooses at that time to illustrate
its work: "modern city with the sinister walls, of
the dark houses, deserted streets, enclosed as in a
labyrinth". |
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In 1928, it passed
to the school of private art of Tartu, in professor
Glinka, thus wishing to improve in the oil-base paint.
The single subject which it painted was the inhabitants
of the Ondiraque. It is in 1931, which it emigrated in
Paris where it attended the members of the old Russian
Academy of painting. There in the 14th district of Paris,
in a workshop impasse des Rouets, Gregoire Krug took
share with the company of the young Russian artists. It
is with one of them that it went to work and live in
narrow communion. The famous painter of the "World
of Art" Constantin Somov regularly came to find
there to paint models there. It was the occasion for them
to profit from the remarks and the invaluable councils of
the Master. Let us announce besides that Gregoire Krug
will be on several occasions, the host of Somov in
Normandy. Among the drawings of Krug which were
preserved, it several very is successful about it which
represents the Master with his work. In the capital, it
approached the Masters the avant-garde, N Gontcharova and
Mr. Larionov. It is them which directed it towards
creative research. Work of this time, we will retain in
addition to its drafts representing the countryside
Norman, his urban landscapes in particular of the
Parisian zone with its dilapidated shacks and its tramps.
On this topic, it also made miniatures engraved on
paperboard and raised color. The few watercolours which
remain us of a vast project of illustration of the
"Nose" of Gogol, appear even more astonishing
to us. Let us note two more other albums devoted one to
the Trappist abbey of Bonnecombe, the other with the
churches of Rome. |
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Its entry in the
religious life was marked by its meeting in the years
1920 with the Father Lev Lipiérovski at the time of a
congress of the Christian Action of the Russian Students
with Petchory. The speeches held by this man of great
faith, so strongly challenged George Ivanovitch that they
led it to embrace Orthodoxy and caused in his spiritual
life a radical change. After its arrival in Paris, it was
among the burning defenders of the patriarchal Church of
Moscow. He then became an active member of the
Saint-Photius Brotherhood whose role was to safeguard on
canonical and dogmatic bases the Unit of the Church. In
1933, the Athanase Father, prior of theSaint-Séraphin
church of Sarov, street Lecourbe in Paris, charged it
with painting a news iconostase for the church. This last
associated this task his/her friend L Ouspienski. The two
men are henceforth reflected to study the technique of
the icon: George Ivanovitch will work then under the
direction of the Sister Jeanne Reitlinger at
theSaint-Serge Institute and at a Russian iconographe
Fiodorov in Clichy. He will settle in Vanves in the
church of the Holy Trinity, where he fulfills the
functions of readers of psalms. Its spare time, it
devoted it to the painting of the icon. Its creations
were particularly noticed by the renewal of the
compositions and the representations such: the Holy
Trinity, the Acheïropoiéte Saver, the Mother of God,
Holy Cène, Pantocrator Christ... It is spring 1948, 40 years old, that
George Ivanovitch was made monk and accepted the name of
Gregoire, of the saint monk Gregoire isographe of the
Caves of Kiev to XIIe century. |
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Père Gregoire Krug
lived 20 years in Skit du Saint-Esprit in the
Mesnil-Saint-Denis, under the protection of his spiritual
Père archimandrite Serge Chevitch. It is since
1950, that it began the frescos of the church. In the quietude of the prayer, only
occupied by its religious painting, it reached a full
spiritual harmony within the orthodoxe church. A French
newspaper wrote in this connection: "Close to Paris,
in Yvelines a hermit, the orthodoxe monk Gregoire Krug
lived. He painted icons which were its prayer ". A
series of low registers and many diseases struck Père
Gregoire Krug. This one refused with any treatment,
thus respecting the will of God and was placed under the
protection of Sainte-Geneviève whom it will very often
represent in his frescos. He died in Skit du Saint-Esprit
on June 12, 1969, where he is buried behind the apse of
the church. |
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Of its work we
preserve great compositions which it affectionnait
particularly. They decorate the walls of the orthodoxe
churches of Saint-Séraphin of Sarov, street Lecourbe in
Paris, Paroisse
des Trois Saints Docteurs street Patel
in Paris 15e, of Moisenay, the
Holy Trinity in Vanves, but also in Clamart, Mongeron,
Hauteville in Brittany and of the Hague (Netherlands). |
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Its best iconostase
is that which it carried out for the old people's home of
Noisy-the-Large. But the crowning of its work is
indisputably the church of Saint-Esprit in the
Mesnil-Saint-Denis where Père Gregoire Krug made
practically all the interior ornamentation. Its
"Notebooks of a painter of icons" were
published in 1983. |
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Copyright
© Olivier FAUVEAU - 2001 |
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