Below are some reviews for Alexander Kanevsky left by various people across the globe.


“Alexander Kanevsky exudes the strength and tenacity equal to that of his name sake. His imagination gives a new life to his historical and biblical subjects, capturing them in action at their emotional pinnacle. He confronts us with such power and expressiveness that is beyond belief. The explosive effect causes the viewer to stand back to absorb, and then contemplate the individual impact of each painting. These paintings cannot be classi?ed and are not indicative of any style or movement. They are amazingly unique, shocking us into revelation that painting as a media is still alive, and as with Alexander Kanevsky can be a cutting edge in the Art World of today.

Harry Nasse

Director, Ward-Nasse Gallery, New York”



“When Alexander Kanevsky paints, he knows how to imbue grandeur in his meaning. As a medical surgeon, the human body has no secrets, it does not frighten him, and as an oncologist, he is an expert at differentiating tumors, also tackling those found within society itself.
As a writer, he professes a sort of figurative literary art, mythological and fantastical, dictated by instinct. Kanevsky is like a swollen river that surges with great power and speed, and he knows where he’s going, into mythological and religious territory, as well as the society in which we ourselves exist, instilling it with his own interpretation.
As an actor, he identifies himself with his roles, becoming Zeus and transforming into Alexander the Great. As a singer, he knows how to manipulate his voice, human or animal as he prefers, and makes himself heard even outside the park. In his European Exhibition Tour , Powers, Giants, Enigmas, we are taken on a journey into his incredible, dreamy world.

Jean Blanchaert

Art Critic and Gallerist, Galleria Blanchaert, Milan, Italy”



“Whereas most postmodern painters have rejected the artistic movements of the past several centuries, Dr. Kanevsky’s artistic style is a fusion of the high renaissance art of Michelangelo and Da Vinci. Indeed, Dr. Kanevsky’s male figures are highly evocative of Michelangelo. Kanevsky’s paintings also evoke the romanticism of William Blake, the surrealism of Marc Chagall, Salvador Dali and Edward Burro, Fauvist impressionism and German expressionism — all with a modern and wholly visionary slant. Kanevsky’s visual signature is one of deeply-pigmented colors that indicate multiple applications of paint, and short brushstrokes.
Given his multi-disciplinary talents and skills, Doctor Kanevsky is undoubtedly a modern-day Renaissance Man.

Dennis Payne

Chief Editor,”



“Given Alexander Kanevsky’s unfailing ability to lend each of his human subjects an innate nobility that enlists them in that “aristocracy of vast distinction of bearing,” as Pierce Rice puts it in Man as Hero, making the “identi?cation of the actual individuals and the episodes they take part in . . .secondary to their individual character”. Given the climate of irony, pseudosophisticated cynicism, and commercial self-interest in which any contemporary artist is compelled to operate, this in itself amounts to an heroic feat.

Ed McCormack

Managing Editor Gallery & Studio”



“Kanevsky’s prolific and revolutionary visions have been harnessed to canvas and evoke an extension of Michaelangelo’s own brush.”

“Antiques and the Arts”



“Maybe if we too could paint and express like Kanevsky, the answer would be as close to us as a brush to canvas. We touch the truth of our “selves”, but never quite grasp it’s shape. Kanevsky, it seems, does.”

“Antiques and the Arts”



“Kanevsky’s art will save the world. Even the superficially aggressive themes turn under his brush into a deep fulfillment of humanity. It is not designed to shock, but is shocking by the apprehension of profundity.”

J. C. Briggs, art critic, London



“Alexander, I hope you continue to challenge us. It would be a dull place if it weren’t for people like you.”

John DeStefano, Mayor, New Haven, CT



“The ultimate fate of these paintings is to make an unrecoverable and never seen hitherto impact on the destiny of the world’s art.”

David Kolakoski, “Kent Good Times



“Kanevsky’s powerful images, a bizarre fusion of historic drama and hallucinatory distortion, take one into the realm of subconscious, and instinctive place where semi-realistic visions of tormented figures writhe in convulsive agony amid a nightmarish other world.”

Judy Birke, “New Haven Register



“Raw, passionate, angry and obsessive, Kanevsky’s larger than life images reek of an intensely personal inner anguish that seems to have been propelled by the burden of human history.”

Judy Birke



“Are these the face of history, the tortured, the tormented, the lost, the damned, weighed down and haunted by the nightmares of the past? Are they caught in a modern world with little hope for a better future? Kanevsky’s paintings raise many questions not easily answered.”

Judy Birke



“Kanevsky sees painting as “a way to god”, a path toward expressing truths and confronting the human psyche.”

Randall Beach, “New Haven Register



“Kanevsky’s people are gazing upward into the glorious vault of the sky and asking, “who are we, where are we from and what is the meaning of this?”

Claudia S. Freedman, “Prospect Pages



“The monumental figurative composition expresses complex theories encompassing western and eastern thought, science and religion that Kanevsky holds concerning the beginning and the end of the world and powers and struggles of existence.”

Ronny Cohen, art critic, New York



“Concerned with grand themes: God and human history,… explorations into the conscience of man; past, present and future. Like Goya before him, Kanevsky isn’t afraid to look at the dark side, with a passionate disposition for truth.”

Franklin Sirmans, art critic, New York



“Revolutionary art. Kanevsky’s ideas reaching the abyss, awakening the everlasting amalgam of births, transformations and destructions… veering about towards highest levels of spirituality, torwards veritable unhypocritical religiosity, towards his golden domes of churches. …the artist, who sees from unembracable past to several centuries ahead.”

J. C. Briggs, art critic, London



“Raging imagination astride a diverting sense of color. Away from the logic of one shape’s influence upon another, we may look to certain periods of Richard Oelze, Asger Jorn or Marc Chagall for similarities of exotic vision of force of line but Kanevsky’s impetuous flights into dark layers of anthropomorphic determination and unleashable religiosity draw from knotier fiber.”

“Book Art Press”


“Outstanding contribution to our artistic ideal.”

Petru Russu, Stockholm

Massimiliano Cadamuro, Venice
International Art Association