The article for the first time made an analytical review of the iconostasis work of the icon painter of the Russian Diaspora of the mid-twentieth century, Grigory Ivanovich (Fr. Grigory) Krug. The author notes the wide fame of the master with insufficient study of his heritage and proposes to connect the studied cultural phenomenon (the complex of iconostases of Fr. Grigory Krug) with the historical dynamics of culture, where the icon receives a new understanding and a new stage of development in the context of emigration culture. Correlating the work of the icon painter with the context of the era and culture as a whole, the author concludes that the new iconographic language of Fr. Grigory Krug is unique not only among works created among emigration, but also for Orthodox religious art of the twentieth century as a whole. The iconostases of the Church of the Holy Spirit in Klamar are considered in detail; 1st and 2nd iconostases of the church of the Three Sanctuary metochion in Paris, church of St. Seraphim of Sarov in Mongeron, the church in honor of the Icon of the Mother of God «All Sorrow Joy» in Nuazi-le-Gran, the iconostasis and painting of the Church of the Kazan Icon of the Mother of God in the convent in Muazn, the icons and iconostasis of the main church of the Holy Spirit Monastery in Le Menil-Saint-Denis, near Paris. For the first time, the iconostases created by Grigori Krug are presented in the context of the transformation of artistic approaches, which change in accordance with the formation of the theological views of the author. In his final work the iconostasis of the Holy Spirit Monastery, the master was able to harmoniously combine carefully restored canonical techniques in creating icons with the creative impulses of the artist of the twentieth century.