Born in Tula, Russia in 1959.

First drawings: tiger, lion, horse, elephant, man at the age of three.

Sequence of drawings on life of Yuri Matusovsky (Kanevsky’s self created character, who in 24 years will be the main hero of the “Journey into Life and Death”)

Painting “Lucifer splitting mountains” at the age 11 wherefore ridiculed before the class and threatened of extinction by a teacher of drawing.

First novels, ”Romantic undertaking” and “White hawk” on American Indians and valiant teenagers, written at the age 12 and 13.

Alexander Kanevsky in September of 1996 in Barcelona with the International debut of his paintings, in front of “Cybelle”

Alexander Kanevsky in September of 1996 in Barcelona with the International debut of his paintings, in front of “Cybelle”

Performs on a stage Hamlet’s monologue “To be or not to be “ at the age of fourteen.

Enters Krasnoyarsk medical institute in 1977 which graduates in 1983 and works in surgical oncology and alternative medicine in Moscow, concomitantly producing drawings and writings of poetry ( “St. Hieronymus”, “Pigeons and Rats”, “Mozart”, ”Titus”, ”Broxberg”, etc), short stories (”Life”, “Nocturne”, ”Asya”, ”Cancer Institute” etc), novels (“Gai Baaron”, ”Doctor”, ”Aurora”, ”Somersaulting island”, ”Vera”) .

Immigrates to the United States in 1990 whereof has first art showings in Pittsburgh Public Library and “Rosebud” café in 1991, paints 150 pictures over the same year, whereof makes first sale to Ms. Smith Korniloff of London, pastel called ”Couple”.

Over the same period writes novel ”Journey into Life and Death”, and collection of short stories ”Stone in a Mirror”.

In 1992 continues forthwith novels “Cancer and Schizophrenia”, ”Krishna”, short stories collection ”Singular World” and painted illustrations to the “Journey into Life and Death”.

In 1993 paints illustrations to the his written novels ”Oblivion” and “Phantasmagoria” and to the short story collection “Incarnations”.

In 1994 produces independent paintings along with illustrations to his novels “Existentia” and “People and Animals”. Paints first eight feet oil on wood “Phantasmagoria”.

In 1995 begins writing the new novel “Nomad” whereto paints corresponding 122 x 244 cm Historical Masterpiece. Other paintings include the “Cosmogony”, the “Love and Death”, the “Monk”, the “Noah’s Arc”, the “Chariot”, the “Ball”, the “Gitana”, the “Universe”, the “Human Nature” amongst others.

In 1996 the newly produced “Cybelle”, the “Holders and Beholders”, the “Judas”, and the “Embryogenesis” are exhibited in Baltimore Hyatt Regency Hotel.

Alexander Kanevsky in October of 1996 in New York with SoHo debut of his art in front of “Nomad”

Alexander Kanevsky in October of 1996 in New York with SoHo debut of his art in front of “Nomad”

Despite the persistent contempt for and notorious reluctance to exhibit and yet following the ceaseless insistence of a friend who had shown some photographs of the artist’s work to Philadelphia art curator Rosenfeld whereof the latter commented: “The ultimate destiny of this art is to make the impact larger than any artist before Kanevsky on the history of art. He would not be understood in Philadelphia where people are receiving only cows upon Connecticut meadows, the only place for him is SoHo, and even there somebody would be bold enough only past some time, perhaps a long time, to adequately present Kanevsky to the public, and when that happens world would never be the same.” Kanevsky ventures himself to SoHo with just a few reprints from paintings, when in April of 1996 he is offered contracts from eight different New York SoHo galleries in one day.

The same year exhibitions make “Nomad” impress SoHo, while “Cybelle”, “Holders and Beholders”, “Judas” and “Universe” among others bring rejoice to the international debut in Barcelona, Spain.

USA “Art News” commemorates the events.

In June of 1996 presents to the University of Maryland Board of Psychiatry and Psychoanalysis his paper “Psychoanalysis of Goethe’s Faust”.

In 1997 completes his first 12 feet oil on wood Triptych “Creation” which astonishes the New York City at the BAI Gallery of Guggenheim Museum in SoHo, whilst the “Judas” visits the Museum of Modern Art in Bologna, the “Human nature” the Kita Ku Museum of Tokyo, and “Daniel in Lion’s Den stands in Dubai before the King of Emirates.

Writes the essay “Between Hypocrisy and Immorality” and the novel “Nomad”. Paints the “Burden”, the “Subterranean”, the “Kaleidoscope”, the “Tree”, the “Holocaust” amongst other developments.

Alexander Kanevsky in 2000 after his “Creation”, whereof in front he poses, has won the First International Award in Fine Arts in Italy in 1999

Alexander Kanevsky in 2000 after his “Creation”, whereof in front he poses, has won the First International Award in Fine Arts in Italy in 1999

In 1998 opens up the “Nomad” Gallery in Torrington, Connecticut, marked by paintings the “Apology of Monk”, the “Ezekiel”, the ”Liberty”, the ”Mirror”, the “Red People”, the “Hope”, the “Pregnancy”, the “Fate” amongst other masterpieces. The ”Holocaust” is offered to the Washington, DC Holocaust Museum wherein accepted under conditions that artist eliminates the nudity that artist abhorredly refused importuning the Museum with utter hypocrisy.

The London art critic J. C. Briggs past 8 hours of beholding to several paintings in the “Nomad” Gallery writes for the “London Times” his article the ”Revolutionary Art”.

In the same year writes book of poems, marked by the “Sacrifice of Monk” and the “Temptation” illustrated by the independent corresponding paintings.

In March of 1999 in Palazzo Correr de Santa Fosca de Venezia Alexander Kanevsky’ “Creation” wins its author the First International Award in Fine Arts of the 136 artists from 67 countries judged by the International Art Association, that transferred the masterpiece along with the “Judas”, the “Cybelle”, the “Apology of Monk” and the “Tree” to Stockholm.

“Agora” gallery of SoHo features the “Couple”, painted in 1997 and the “Unity” painted in 1995 within itself and the USA “Art Forum”.

For the “Nomad” Gallery paints his first 16 feet tall ”Revival”. The “Prospect pages” of Connecticut capture its magnificence along with the legendary “Creation”.

In the same year paints the “Alexander Nevsky”, the “Lavan”, the “Jews”, the “Anima”, the “Cain and Abel” among others.

In January of 2000 opens the Kanevsky Art Gallery in Kent, Connecticut wherefore paints the prodigious and magnificent “God’s Kingdom” and the “Earthly Life”.

Alexander Kanevsky’s “Couple”, which stirred forth the US scandal on Art and Ideology in August 2000.

Alexander Kanevsky’s “Couple”, which stirred forth the US scandal on Art and Ideology in August 2000.

In August of 2000 the National Scandal broke after the New York Times article on Kanevsky’ painting “Couple” that made the puissant political ideological hubbub in New Haven. The morning after the publication of the article Kanevsky’ managers have received 123 phone calls from nearly every state inhabitants imploring on the price of the painting contending who will become the mighty owner.

“Kanevsky Art Gallery” after the “New York Times” article on the “Couple” becomes the nationwide pilgrimage.

“Arts and Antiques” publishes the article “Alexander Kanevsky: The Painter and the Writer”.

“Kent Good Times” publishes “Émigré American experience cures artistic asphyxiation”

The “New Art International” publishes pages of text forthwith the photographs of the “Holders and Beholders”, “Couple”, “Forest” ,”Hope” , “Incarnation”, ”Tree”, ”Creation” and “Cosmogony”.

In April of 2000 the “Author House” publishes the “Journey into Life and Death”, the very first novel written by Alexander Kanevsky in English 9 years hitherto.

The American film director Tim Burton telephoned Kanevsky to say: “I am fascinated by your novel and would like to make a movie of it. However I must tell you that the directors and producers I work with do not share money outside of their families.” “They would need to marry me”, Kanevsky replied.

Alexander Kanevsky with John De Stefano, the Mayor of New Haven, upon the opening reception of the historic exhibition of Kanevsky’s art in new Haven City Hall in January 2001

Alexander Kanevsky with John De Stefano, the Mayor of New Haven, upon the opening reception of the historic exhibition of Kanevsky’s art in new Haven City Hall in January 2001

In November of 2000 Pierre Rosenberg, the director of the Musee de Louvre over but one glance upon the laminated photograph containing the “God’s Kingdom”, “Earthly life” and “Creation” said that were Kanevsky born 100 years earlier he would have given the entire museum space to his art whenceof has given the recommendation letter to the French National Museum of Fine Art at “Georges Pompidou” where Kanevsky were received with bows but the acquisition failed due to negligence of artist’s managers.

In January of 2001 yet the other USA National Scandal erupted prompted forth by the precedent “New York Times” article and now fortified to the peak flame of utter efflorescence over the exhibition of 80 of Kanevsky paintings in New Haven City Hall, whereof the “USA Today”, ”New Haven Register”, “Yale news”, ”Meriden Times”, ABC news channel 8, Fox news 61, KC 101, New York radio at 21st street, “New Russian Word”, CT channels 3 and 30 echoed each other in fathoming the paradigm of Alexander Kanevsky’ Art.

The New Haven Mayor John DeStefano, Jr. in his Historic speech upon the opening reception of the exhibition had proposed to move Kanevsky Gallery to New Haven so that the artist could realise his expressed dream in turning New Haven into the American Florence while the USA into the cradle of the New Renaissance.

Whilst preoccupied with the opening of the new gallery on Whitney Avenue the artist called off planned exhibitions in Tel Aviv and Frankfurt on Maine.

Paints 12 feet the “Laboratory of Sin”, the “War”, and the “Sanctus Spiritus” for the New Haven Gallery forthwith the smaller masterpieces exemplified by the “Dissected”, “Samson”, ”Passion of Poseidon”, “Susannah” , “Galaxy” and “David”.

In 2002 makes sequence of clay sculptures whereof stands out the “Elements”, the reincarnation of destroyed by tornado 48 feet Sand Dune Barelief that Kanevsky made in West Haven, whose mayor Richard Borer contemplated opening up of Kanevsky Museum, wherefore means came not to fruition and the enterprise of great pitch and moment turned awry and lost the name of action.

Israel Prime Minister Ariel Sharon thanked miss Adinolfi, Kanevsky’ manager, for “introducing to us the world renown artist Alexander Kanevsky” who offered to paint the “Maccabi triumph over Antiochus” to lift up the national spirit of Israel, but lamented that “…Prime Minister has presently no time to sit for the portrait” .

In November ‘s presentment to the National Gallery of Art in London its director Charles Saumarez Smith echoes Louvre’s Pierre Rosenberg most aspired to give the entire Museum space to Kanevsky “ were he born 100 years before”.

Alexander Kanevsky’s Russia painted in 2002 for the Lenin Museum of Krasnoyarsk, where the exhibition of Kanevsky’s art have made its debut to his motherland

Alexander Kanevsky’s Russia painted in 2002 for the Lenin Museum of Krasnoyarsk, where the exhibition of Kanevsky’s art have made its debut to his motherland

John Nickson, the Director of the Royal Academy of Art in London offers summer exhibition there and membership of the academician, whilst Antonia Spanos, the Curator of Salvador Dali exhibit in County Hall Gallery after but one glance upon the same historical laminated photograph featuring three Kanevsky’ giant Masterpieces extends to the Artist the invitation for the exhibition in the opposite room, wherein ere Kanevsky were honoured but only Picasso and Chagall. ”They’ll take Dali right away out after they see this stuff” commented some adept looking Englishman standing by Kanevsky in the reception of the County Hall Gallery, peaking at the photograph that had just earned Antonia Spanos’ generous offer expostulated by the receptionist extending to Alexander Kanevsky her boss’ invitational paperwork.

In Krasnoyarsk, Russian Federation, the city wherein the Akademgorodok the artist lived from 1970 until 1985 , in the August of 2002 in the former Lenin’ Museum the exhibition of Alexander Kanevsky’ paintings released issuing forth the article of journalist Tatiana Lomanova “ The poem of ecstasy” in the newspaper “Kultura”.

Writes essays “Between Rejection and Intrusion”, Father, Tiger and Rat” , “God. Galaxy and Immortality” , “Between Mundanity and Minacity” and “Classification of Intellect”.

Paintings highlighted by the giant “Russia” in the Gallery Studio and the beginning of the no less if not yet the larger giant “Artemis” in the artist’s Home Studio.

In November of 2002 Sir Peter Kyle, the General Director of Shakespeare Globe Theatre in London has written in the letter to the artist ”I have admired the strength, power, colour and vibrancy of your unbridled creative impulse for many years” whenceforthwith Kanevsky’ answer become quite “o’erwhelmed by the generosity…”of the artist to visit his Gallery wherein as both agreed the artist will produce a number of paintings for the “Globe” to give homage to his beloved Shakespeare whose Hamlet Alexander quoted and performed of fragments since his early childhood.

Alexander Kaenvsky with Sir Peter Kyle, the Director of Royal Shakespeare Globe Theatre in London in April 2007 in front of Kanevsky’s “Hamlet”, which theatre acquired in 2003.

Alexander Kaenvsky with Sir Peter Kyle, the Director of Royal Shakespeare Globe Theatre in London in April 2007 in front of Kanevsky’s “Hamlet”, which theatre acquired in 2003

In March of 2003 Kyle arrived to the Gallery whereupon the acquisition of the “Hamlet” and “King Lear” for the Theatre and the “Alexander on the grave of Achilles “ for his personal collection Kyle expostulated commenting upon the artist’s ongoing projects in London: “Alexander, agree not to the showing in County Hall. It is the low and ill reputed place withal not for the masterpieces like yours, Alexander, wherefore someone better pay millions when offers you an exhibition. Moreover we don’t like Dali in London so your paintings would not have to throw him out, Alexander, we will take him out anyway. Spend not your precious energy on the meretricious affairs but keep painting, maestro. And leave the Royal Academy business to my dispatch. I will speak with Nickson to mount your personal exhibition there wherefore they will pay you all the millions which your paintings are worth of. I also will talk to my friend the director of the Tate Modern to harness your individual show there. I will also do my best to get your “Journey into Life and Death” filmed by the British film directors. But alas, all that the Director promised to the trusting in him artist have thenceforth somehowever immersed unto the unrecognised oblivion.

Of 2003 paintings stands out the “Love” with it’s size and the most intriguing decision of harmonious paramount grotesque and disharmonious zenith beauty.

The “ Eternal Life “ painted over the same year in the Artist’s Home Studio, depicting in the phantasmagorical mountain swirl woven forthwith the dolphins and the swans the artist’s grandfather, Feodor Samsonovich as the king, the grandmother, Donna Kuhn as the queen and the maternal great uncle, the genius virtuoso musician and innocent Stalin’ victim, David Kuhn as the fiddler on the mountaintop just under the burning eyes of God.

In April of 2003 “Kultura” sends Kanevsky “The Poem of Ecstasy” reflecting on the artists exhibition for the first time within his native land. Some works off the permanent exhibition therein the former Lenin’ Museum by the artist’s wish were assigned to the permanent collection and lifetime curatorship of the world renown scientist Rem Khlebopros and the prominent researcher, builder of Jewish culture and heritage of Russian Federation and Siberia, Samuel Kuznetsky.

In July of 2003 the visitor to the Kanevsky Art Gallery from the Kunsthalle of Hamburg, Germany had said: “It is beyond any doubt now and is most perspicuous to me upon what I see that the greatest masters of all times could not withstand up to match with Kanevsky”.

Writes the cycle of poems “To Germany” after visiting it in the same year.

The Gallery opens doors to the fundraiser eve for the Archdiocese of Connecticut wherein priests and ministers are most taken into the inexorable discussion upon Alexander Kanevsky’ “Laboratory of Sin”.

Early 2004 begins with the formation of the United Agency Alexander Kanevsky International.

In February 2006 Alexander Kanevsky during his candidacy for Governor of Connecticut posing in front of his “India”, which he had painted in 2005-06 for the Government of India

In February 2006 Alexander Kanevsky during his candidacy for Governor of Connecticut posing in front of his “India”, which he had painted in 2005-06 for the Government of India

When the Connecticut readers of Kanevsky’ “Journey into Life and Death “ saw Tim Burton's “Big Fish” they immediately telephoned Alexander to pursue him to sue Burton who no doubt to them had stolen the whole idea of the “Journey” that hitherto he was desiring to film, yet covering up as if being conjured of his thought process with the lovely footnotes upon his film’ advertisement: ”Inspired by some stories of Mark Twain“ forthwith some fables. Yet Burton was not craftfull enough to not name his masterpiece the “Big Fish” that is flying over the gold- black sky in the very first paragraph of Alexander Kanevsky’ “Journey into Life and Death”. “I am too busy painting and writing to deal with this all” answered the artist to his readers, but I will ask my lawyer when I will of what he thinks. The lawyer thought that the creative idea canst not be sued but the form which Burton camouflaged skilfully taking the action from Russia to Alabama.

In March of 2004 following the letter that he wrote to the Ministry of Culture of Kenya of his intent to visit their land Kanevsky arrives in Nairobi where is met by the Director of Culture Silverse Anami and his associates.

“What can we do for you in Kenya” Anami implored. “Take me to see the lions” Kanevsky replied. “Would you paint anything for Kenya?” - the Director persisted. “Depends on a feeling that I’d get for your land” the artist replied.

In ten days after visiting the Masai village in Masai Mara wherewith was offered to stay, shepherd a cow, whenceforth to get a wife, after long hours of the most minute observing the lions breeding, after climbing the Kilimangaro and swimming under the Tikka falls near Nairobi and in the Indian Ocean of Zanzibar Kanevsky had the giant mural painted already in his head wherewith he acquainted Najib Balala, the Minister of Culture and Silverse Anami on the eve of the 2 nd day of April over their dinner in Nairobi.” The walls of the Kenyatta International Conference Center are ready for your masterpiece, Alexander” Anami proclaimed. Forth issued workshops and lectures with Kenya artists and round table discussions with Kenya dignitaries that Alexander Kanevsky conducted . “The land that give birth to the most strong and beautiful animals and people can be but the land of the Future,” Kanevsky proclaimed wherefore was called by Kenya “The Prophet”. “Say it again, Alexander, what you’ve just said yesterday” entreated Gerard Besseling, the Nairobi Director of Tourism in the airport final Alexander Kanevsky’ speech to the people of Kenya”. Lydiah Besseling, Gerard’s wife was chosen by Kanevsky as the model for the future painting. She still and forever sits there in the front panel surrounded by roaring faithful lions. People on the streets of Kenya and Tanzania were calling this Tarzan looking Man donned in the red Masai robe the “ White Masai” for some obscure reason ubiquitously liking him and universally accepting.

In the late April of 2004 does sequence of drawings of figures of African animals, mostly lions and elephants for the upcoming production of the mural wherefore 10 by 16 feet canvass was harnessed onto the wall of the Kanevsky Gallery by the artist’s uncle, Honourable Michael Friedman.

In May of 2004 Silverse Anami visits the Kanevsky Gallery with the US ambassador of Kenya. “While you making the African painting I will raise one million dollars to get for Kenya your “God’s Kingdom” Anami stated.

“I’d like you to meet one our guy who is also like you for Kenya who is running for the US congress he lives in Illinois. Can we bring him to your Gallery next time we come?” The Ambassador implored. ”We should be her in about three or four months” Anami added. “I would enjoy meeting him”, Kanevsky answered. “His name is Barrack Obama”, the Ambassador introduced.

The time and fate have chosen however their own course. The revolution after the revolution broke off in Kenya. One government have treaded upon another’s heels. When at last Silverse Anami telephoned Alexander Kanevsky with the intent to see the painting Barrack Obama was already busy running for the president.

Out of all clay sculptures rose on superseding the others in size and grandeur, the “Judith” made in 2004.

Alexander Kanevsky before the near brought to fruition “The battle of China and Japan of 1605” which he painted for the acquisition of either of the 2 countries.

Alexander Kanevsky before the near brought to fruition “The battle of China and Japan of 1605” which he painted for the acquisition of either of the 2 countries.

I late May of 2004 begins painting the “Africa” using the unusual for himself technique of the farthest planes painted first. Those as such were the videoramic horizon embracing lofts of Masai Mara savannah as Kanevsky remembered her, now rendered in the most realistic paintstrokes forthwith the groups of animals her inhabiting .Everything seemed magnificent to the beholding visitors of the Gallery yet something was gnawing the artist with the sense that something is cardinally wrong there in the painting, wherewith no matter how magnificent the rendering could be the whole thing would loose.

In September of 2004 waking up one morning the artist clearly saw what it was or more precisely what it was not. Kanevsky rose, drove to the Gallery and painted the elephant with raised to heaven horn in the very middle of the canvas which immediately have become the uttermost centrepiece and indeed the very heart of the painting whereupon all other elements became harnessed.

In November of 2004 following the letter that he sent to the Ministry of Culture of India Alexander Kanevsky arrives to the New Delhi airport where is met by the group of people that have disclosed to him that India right now has no Minister of Culture but that they represent the Ministry of Tourism and would fain accommodate the artist to their birthdome imploring of his plans for India. As I said in may letter I meditate on the possibility of contributing my art to the cultural prosperity of your country. Yet, since there is no Ministry within your government to handle the contribution but you’d be kind to take me to the tigers I should desire no more.

Jungles of Rhantamboure wherein the lodge the artist stayed have taught him their language and fulfilled his childhood dream to be close to his most favourite animals.” Then after seeing the tigers riding my elephant named Ripuli through the streets of Jaipur in the uttermost meditative state of soul I felt the never-ending ecstasy.

Nevertheless the “Hindustan Times” have arranged to interview Alexander Kanevsky in his New Delhi hotel upon his arrival from Rhantamboure with Mr. Zagrad, the Director of Tourism through India and Nepal as the interpreter between Hindu and English. Therein the interview the reporter asked Alexander : “Are you going to paint something for the Indian government?” “By all means” said the artist. “Would you give it to us for free?” The interpreter continued. And, without waiting for the Kanevsky’s answer, Zagrad replied: “No”.

Satrugan Singh, Kanevsky’ determined honest and reliable driver through India has inherited thirty of prints of Alexander’s paintings that the artist importuned him to give to the future Ministry of Culture for the Exhibition whenceof retrieve them for his permanent personal collection and unrestricted curatorship with the respect for the copyright.

Through the December of 2004 completes most of the front panel figurative composition of the “Africa” wherewith the whole painting is finished in April of 2005.

In March of 2005 Alexander Kanevsky arrives to Kyoto in Japan pursuing the idea of collecting relics, stains, tinctures and cognizance of Samurais for the preconceived upcoming mural on the Battle of China and Japan in Manjuria in 1605. There he travels to the Samurai village where speaks with the modern practitioners of Samurai lifestyle and sword , who read to him some of the important antique manuscripts left by medieval Samurais. In the village’s Samurai Theatre they make Kanevsky over to the actual Samurai wherewith the sword ,make up and kimono the artist walks around accompanied by “Kakoi kakoi”.

There in Kyoto the artist is introduced to the officials of the Japanese Committee of Cultural Heritage who wish to see the artist’s future painting of Chinese Japanese war for the acquisition by Japanese Government

Paints the “Origins”, “Doll of the Future” “Fourth Dimension”, begins “India” along with the smaller size masterpieces.

The Chinese managers give the artist report that the Shaolin Temple accepts nobody to stay with the monks. “ There are several schools of Kung Fu near the Temple where you can stay” they counsel. “But no. I must stay within the Temple, live with monks to become one of them to understand the Kung Fu, whereto I gave twenty years of life unsure of the quality of what I have learned, and to understand the soul of the Kung Fu Monk who had given the defeat to the Japanese Samurai, insuperable of his sword and Zen.

In October of 2005 Alexander Kanevsky on his own ventures to China,reaching the Shaolin Temple whereto , in spite of being purged away to which had shown the utter dauntless resistance and refusal , was accepted as some insane western sample which to observe and to throw away with confidence for no westerner nor even the Chinese civilian non monk could ever survive monks training conditions. But artist Alexander Kanevsky did. Twenty two hours a day of heavy non stop Wu Su exercises whereof about to loose consciousness, able no longer to move his limbs, he used some insane mind over matter whereby brought the monks to amazement , earned their friendliness, respect and even the opportunity to make his own presentation at the Legendary Lake which put the triumphal necklace of Shaolin Temple around Alexander Kanevsky’, the first foreigner who ever lived with monks, indifferent to tiredness insuperable gung induced stone like neck.

In Beijing Alexander is introduced to the Cultural Government officials who assured him of their intent to see such “important piece of work for the history of the Orient” with the definite prospect for the painting’s acquisition by China.

Whoever shall acquire it,- China or Japan is more of the matter to China and Japan. To me, since they both fought this utterly important not only for the Orient by for the entire World, battle, they both deserve it. But let me paint it first. Like Michelangelo before me was so aspired to show the naked body in civil motion I am to do so in military flying swirls and kicking in the air .

Year of 2006 begins with two months of writing the novel ”Crys” wherein the prodigy he created should outshine the King Kong for human unconsciousness and create itself innumerable attempts to steal the authorship of it’s creation.

In February of 2006 the “ New Haven Advocate” and the “ Fairfield County Times” impregnate streets of Connecticut with the image of Alexander Kanevsky in a pink Japanese shirt instead of sword holding the paintbrush in a gesture suggesting aptitude to attack and to defend, calling him “The Siberian Candidate” and “Self Proclaimed Superrenaissance Man runs for Governor. Sort of” and “Alexander’s Complex” whetting him against Napoleon Bonaparte in his ascribed desire to conquer the World. The artist indeed filed his candidacy to throw around his newly formed but long brooding ideas of Respiritualization to American Nation, that, as TBS radio show host Colin McEnroe , featuring Alexander Kanevsky lavishly on his run for Governor that year, put it, “may be our Nation’s Last Hope”. “Colin, do you want to keep interviewing this Russo-American Napoleon Dynamite to play tetherball with oversized head of DeStefano?” one of the comments stated, that made Kanevsky laugh. Instead McEnroe seem to oversize Alexander Kanevsky’ head, calling him his “ favourite politician ever” , “never heard a better guest in some time”, “made Ned Lamont castrated” ,”should debate Joe Lieberman alive on air” and so forth.

“Barnes and Noble” stores of Connecticut became polluted with Alexander Kanevsky “Journey into Life and Death”, whilst doors of Kanevsky Art Gallery of New Haven barely withstood the pilgrimage of most anxious visitors.

In September of 2006 Connecticut Radio began proclaiming that the State wants Alexander Kanevsky as it’s Governor.” I never expected this”, the artist confessed “My sole purpose of running runs forthwith the hope that my ideas of how to make America yet stronger would be heard by people and utilised by the more experienced politicians, like Jodi Rell or John DeStefano, whilst I should continue painting my canvases writing my books and seeing my patients.”

Begins painting “The Battle of China and Japan in 1605”

Writes theatre play in rhymed Shakespearean English “Salamandra”.

Performs on stages of Connecticut and in Kanevsky Art Gallery one actor rendering of Shakespeare’ “Hamlet”, “Macbeth”, :Julius Caesar” and “King Lear”, whereof most monologues and scenes have learned by memory over the precedent four years.

Travels to Israel for print signing of his paintings wherein leaves fifteen prints for permanent personal collection and unabridged lifetime curatorship of Doctor Alexander Semenov, the artist’s personal friend.

The World Renown Art Historian, Hermitage Professor and Author of books on Art and artists, Gregory Ostrovsky said upon the meeting with the artist in Tel Aviv in April of 2006: “Alexander, I have been fan of your art of paramount masterly and peak conceptual power for many years now. I even travelled to Barcelona to see your exhibition there but the Gallery was closed for Siesta. Would you let me write the book on you and your art? The book was never finished for it’s author stepped away from this world in 2007.

In Israel meets also with Iv Jackerson of Beer Sheba, whom considers the best artist since the middle nineteenth century. Jackerson insists that Alexander show him some of his prints and when Kanevsky agrees and forth upon looking at them expostulates “Listen, in comparison with what I see I am but a rainworm!”

In November of 2006 for the production of his preconceived videoramic painting “The Ocean” travels to New Zealand wherewith naturality and antitechnologism falls irrevocably in love, and in Tasmania, where along it’s coast rides the boat in a storm through the seacaves and swims in it’s waters impregnated by giant blue whales and whale sharks.

In 2007 completes “The Battle of China and Japan of 1605” that brought oriental and martial arts population of Connecticut visiting Kanevsky Art Gallery into amazement for rendering the authenticity of motion ,composition, arms, garments and character the way noone ever could.

In December of 2007 the “Author House” publishes Alexander Kanevsky’ novel “Crys” and the theatre play “Salamandra”.

Reads Racine’ “Phedre” in French, Dante’ ”Inferno” in Italian, Goethe’ “Faust” in German.

In 2008 many articles about Alexander broke through Russian American press of Rhode Island, New York and Philadelphia, Spanish American press of Philadelphia and English American press of New Jersey where Alexander moved to support his mother Alla Kanevsky and to conjoin with his wife in the expectation of the arrival of their daughter Daniella that in September of 2008 was born.

Paints the “Saint Peter”, ”Jar”, ”Shark”, ”Cronus”, ”Theseus”, ”Inferno” forthwith a number of other masterpieces.

Writes the book of poems “Five tongues of Alexander Kanevsky” in French, German, Italian, Russian and English.

Receives letter from National Gallery of Art of Washington to inform him that the Gallery made the decision to include his art within it’s archives for the art researches of today and the future.

Receives the letter from the Director of Culture of National Library of Spain Ana Santos Aramburo in Madrid saying ”We wish to see Alexander Kanevsky Art soon in every Museum of Spain.”

In 2009 the “Author House” publishes the “Five tongues of Alexander Kanevsky”.

Participates in designing the Art Album “Kanevsky: The Genius of Vision” to incorporate 450 of his works of art; writes the book of Medicine, “Doctor Kanevsky’ Secret Diaries of Health”, as he practicing Natural Integrative Medicine helping many people most of his life.

Creates the “Psychomorphism”, “Evolution”, ”Great Stage of Fools”, ”Void”, ”Daniel”, Chinese Medicine”, ”Zeus and Leda”, ”Rape of Sabines”,

“Self”, “Shiva” forthwith the sequence of masterpieces to his newly born daughter: The ”Conception of Daniella”, ”Family Roots”, “Family Ties” and “Eternal Daniella”

Fourteen months old Daniella Kanevsky herself is catching up with her father creating her first visual chedevres, whereof one would be introduced in her father’s upcoming Album.

The American poet Raj Mahajan writes poetry to Alexander Kanevsky’ paintings.

Artists from every corner of the world call Alexander Kanevsky their favourite Artist and their Teacher.

In January and February of 2010 produces most unexpectedly unusual and unique painted sculptures of wax whereof standout are the “Roe”, “The Sublime”, and “Japan of Samurais”.

In March of 2010 visits New Haven to find the inscription “Kanevsky Art Gallery “ still upon the Downtown building almost three years after the artist had closed that, called by it’s past visitors “The Newly Created Magic World wherein we forget about the boring and unimaginative Old one, disappearing together with our changed forever old selves.”