From modernity, he took the concepts of synthesis, deformation and unfinished work. "Drawing, drawing, drawing": he would never have abandoned it, nor the form to which he would always return, depicting what was most congenial to him, i.e. ballerinas, horses, motherhood, and landscapes. I suggested that he should go further, to make abstraction a proving ground for his hand and his passion. And he created PARALLEL WORLDS, objects of invention full of matter, shadows, lights, planes, without empty plays of colors. 

Even the grays, the whites, even the snow passed through his system of earth colors, burnt lands, Sienna, ochre: a full range of browns up to the darkest brown gave solidity to the terrestrial plant of his paintings.

He used certain Loecher enamels that had great coverage and no graininess. A real alternative to oil: the same strength, but with more shine and a certain sense of contemporaneity.

I watched his play of light and shadow on the bodies, I observed everything taking shape on the surface of the canvas.

I thought his painting was mine too.

Ermanno Krumm

(Varese 1942-Como 2005)

Essayist, intellectual, journalist, art and literature critic, but above all a poet.

His activity as an art critic for the Corriere della Sera newspaper was very intense.

As a poet he published the collections Le cahier de Monique Charmay (1987), Novecento (1992), Felicità (1998), Animali e uomini (2003) and Respiro (2005).

In this last collection the poem speaks of his father Edoardo Krumm: Portrait of the painter as a father.