Alexander Kostetsky

Alexander Kostetsky was born on November 14, 1954 into a family of artists in Kiev. His father, Vladimir Nikolayevich Kostetsky, was an academic painter,  and his mother, Galina Novokreshchenova a sculptor. He graduated from the Kiev Art School in 1975 . In 1979 he graduated from Kiev State Art Institute. In the institute studied in the workshop Shatalina. After graduation he worked in an art shop. In the Soviet period was involved in underground exhibitions. He later traveled throughout the Ukraine, the Caucasus and Central Asia.

In 1988 his first wife Helen, née Granovoy, went to the U.S., there are many exhibitions, including New York, Washington DC, Philadelphia and others, ten works were bought by Norton Dodge in his museum, where they are today . Served iconographical orders for four konfesssy Orthodox Church in New York. Prior to 1992 by a very active in the U.S., he lived mostly in New York . In 1992 he returned to the beloved Kiev .

In 1998 in Kiev, was released on the album art reproductions article Kozlovskaya Olga , his second wife in 1996, in the preface. A number of exhibitions in Kiev, most recently in the gallery “Nave” in Laurel, part of the work there, there is a permanent exhibit. Again in 2001 visited the exhibition the U.S. in 2003, visited the exhibition Germany, Mannheim. In November 2003, was admitted to the Union of Artists of Ukraine. Since 2001, his second wife has visited Egypt. In 2007, traveling with his wife and her son in India and Nepal. Died Jan. 4, 2010 at his home from lung disease.

Began to paint before going. Because of this, even at preschool age parents have invited him to a teacher for the production figure. Since childhood, fond of depicting the forgotten civilizations, timeless mysterious characters. At school age has already formed a characteristic manner of the artist. In art school and institutions are dexterity of drawing techniques in the spirit of the old masters, oil paintings set an example for other students. Initially, the institute wrote far from the topic of social realism, which at times caused a negative reaction from teachers and the threat that the institution he did not graduate . In school, helped my mother, a sculptor and he was fond of sculpture in the seventh grade completed a set of chess pieces in a medieval knight characters form an intricate wood carving. Subsequently served as sculptural works in clay, porcelain and other materials.

Develop your own style and technique of oil paintings, consistent with its unique vision, which includes a subtle glaze with oil. and application of bulk arrays of paint on canvas.

Large role in the life of the artist played Boroday, Basil Z. . On admission Alexander did not take, as if struggling with continuity and children artists at Art Institute of socialist countries do not take a fad, so do not have a friend in art school and the son of a famous artist Danchenko, Vladimir, not accepted and the other fellow in art school Boguslavsky Volodya. On hearing this, Basil Z. Boroday went to the selection committee and said Kostecki – an orphan, which corresponded to reality, my father died when he was 14 years old, his mother died when was 16.

After that it was still at the Kiev Art Institute.

Enrolled in NSHUv 2003 . Was passed out of the competition, quotas, and the usual procedure at the meeting of the Kiev office almost unanimous vote (a couple of abstentions out of 150 participants) on the recommendations given by Vasily Z. Boroday , Natalia Gerasimenko and Gregory Khoroshilova

Born in 1954 in Kiev

Graduate Kiev Painter School in 1975

Graduate Kiev Painter Institute in 1981

To find the position of Alexander Kostezky in modern world of painting we can’t be limited by European tradition because of his links with more ancient and powerful traditions. As to Europe, the process initiated by Symbolists and Surrealists that looked like an insane attempt at blowing up the grievous predestination of shapes reached the level of lightness and perfection in Kostetsky’s works which convey the feeling of divine play. Unlike Dali and Picasso, they present no rigid border whose determinism had to be fought through blood and revolutions, through wars and bomb explosions. The artist’s Universe is defined by penetrability and plasticity. Over-serious treatment of form is superseded here by Buddhist divine lightness, by physically perceptible hovering. It is not a Surrealist attempt to plunge the mind into a different sense of reality. It is a different experience of reality. All sorts of -isms engendered by their time, from Symbolism to Dadaism, have been eventually transformed into a new world perception and vision adequate to current philosophical and impetus for the artist’s works.

Thus, Alexander Kostetsky is a highly contemporary artist in his manner of image constructing, though his paintings feature no realities of today. It can be argued that in the long run the main protagonist of his canvases is Paradox. To begin with, the total picture space can be perceived not as background or part of the elements, but as a single living organism, reflecting a fairly environmental mode of space interpretation. “The Moon Rise”, “The Sky Sounds, “A Sea Spirit” – each paintings is devoid of loneliness, no matter whether it has human figures or not. It is the space where each point is the center of the Universe.

There are human figures in his works, however, and the artist himself correlates them with “stuff” figures in the 17-th c. painting where they were placed into the picture texture for the viewer’s self-identification and were devoid of individual features. In his paintings “Light from Within”, “The Lake”, “The Moon Rise” they acquire extraterrestrial shining aspects. They are all presented in the state of concentration, inner vision or hearing, and at the same time, in the state of lightness. There is no hierarchy there: whimsical figures are thoughtful, wise and seem to be omnipotent. They have airy quality and even if they do not radiate light, they still look luminous. Refinement and grace of their persons and their extraordinary garments suggest the ongoing mystery and subconsciously convey to the viewer special kind of information and special way of interpretation.


In addition to humans, this unusual space is inhabited with non-anthropomorphic creatures. For instance, “Pilgrims” or “The Sea Spirit” feature vivid substances shaped like spheres, shells, pillars which delineate whole spaces in our superconscious. As to the space traditionally seen as a metaphor for the artist’s penetration into the essence of the world, its treatment is definitely the painter’s forte. Plunging into his work one experiences lifting of earthly restrictions not only in using visible and tangible materials, but also in the possibility of getting out any place and any time. Than we get such a state of a consciousness, that air, water and stone would change places, and the canvas’s two dimensions would accommodate not even three, but any number of dimensions. He is a magnificent drawer capable of rendering the velvety texture of tissue and the cold of marble. He is high-technic painter, but he seems not to paint his pictures, but to enjoy playing with them. His works strike one by the integrity of painting culture and cultural in general. He selects his images with taste and passionate efficiency. Increasing exaltation, the main lyrical medium, releases the viewer’s look from accumulated fatigue, from our fascination with the traditional. He make them free – first our spirit, and then our body. The power of such painting is in regenerating spiritual forces. It resembles mystical power objects which had once existed in ancient cultural traditions.


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