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Anatoly Krynsky Fine Art - Commentary

"Anatoly Krynsky - A Life of Art" by Gaither Stewart
 
Nonetheless, you still wonder. Who is this man -- Anatoly Krynsky? From what planet did he descend? Is he Mask or is he Man under one of his own masks? You learn little by asking the artist's opinions or about his likes and dislikes or about his former teachers or the influence of other artists. He anyway prefers to speak of Buddhism and Tibetan medicine or the mystery of Stonehenge and Aztec pyramids.

"It's useless to talk about my early years except for the short period after I met in Kharkov the famous Constructivist, Vassily Yermilov and the Russian vanguard artist, Boris Kotare. They revolutionized my artistic awareness. Until that time I had blindly copied nature or simply executed my daily etudes, without any understanding of their true significance."

Anatoly Krynsky has been erroneously labeled a Constructivist. The definition is much too limiting of the complete artist who instead already as a young man pressed ahead from his early works of the period he studied under Yermilov in the Kharkov Art Institute, to themes like Man and the City or the Duality of Man and of Life, works already then depicted in his Cub futuristic-iconographic style.

Like a cyclone he passed through subsequent periods, carrying over from each period something to the next. His was an art on-the-run marked by a cycle of masks linked to ancient Egypt, by long years of experiments with Reliefs based on the use of sand, paints and metal, by advanced studies of the nature morte as a link with antiquity, and even by Italian landscapes painted for his exhibits in Bologna and Rome in the 1970s.

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Reprinted by permission from Tower of Babel.

Gaither Stewart, correspondent in Italy for the Dutch daily Algemeen Dagblag, has written widely on European culture and reported for many years on East Europe for many European publications.

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