It matters not that there is “no greatest master of the past, nor present, nor future that could ever stand to match with Kanevsky”, as said the visitor from Hamburg, Germany to Kanevsky Art Gallery in New Haven, USA.
Nor matters that “Were Kanevsky born 100 years ago I would give him half of the Louvre and whole National Art Gallery of London” as their directors, Pierre Rosenberg and Charles Saumarez Smith once expostulated.
Not even matters that his “newly created form of art, highly abstractly conceptual of content, shockingly unorthodox of composition, and uniquely figurative in form, that still make both critics and amateurs break heads over to which style to refer it, was called “Revolutionary, several centuries ahead of time” by London Art publicist J.C. Briggs.
It equally little matters that “Kanevsky’s art is destined to make an impact on History of Art larger than any artist before him” as Philadelphia Art Curator Rosenfeld.
What matters is that this art strikes so the unconsciousness of man upon the first glance that it creates the insurrection, volcanic eruption, soulquake that would find its owner never the same.
Nathalie Khutoryansky
M.A. of Psychology of Visual Perception
Princeton, New Jersey, USA
22 April 2010
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