Eduard was born in November 2nd, 1946, in the city of Kendige Pogost, Komy Republic in Russia. In 1980, he completed a M.A. Degree in Art Faculty of Painting and Graphics of the University of Magnetogorsk. From 1980 to 1990, he holds the post of top artist in the Art and Design Institute in the city of Tashlibinsk, Russia. Working on wood and cardboard as well as oil on canvas, he combines the ancient Byzantine technique of generalization of form with associated impression of an original manner of the artist. In December 1991, he repatriated to Israel. Since then, he lives and works in the Sa-Nur artists’ village. Life in Israel influenced the coloration at his palette, enriched range of expression and open themes in his art where we see an interweaving of ancient and modern themes.
Eduard Grossman’s creative world fascinates and delights the viewer. It is almost impossible not to fall under the spell of his magical power; the mystery and charm of his pictures remain all-powerful throughout. His pictures seem to produce a magnetic field of attraction, enhanced by a powerful and creative energy. You can feel the free and powerful spirit of the artist in Eduard Grossman’s works, whatever their genre, their subject, their style; the artist skillfully controls the expressive sources of his art without being tied by a dogma or canon of beauty. He has adopted the advantages of postimpressionist color, mastering them in a way that corresponds so greatly to his own vision, to his individual style and his striking temperament that he plunges us into the element of color with all its force. The internal logic of the artist’s spiritual and creative development, invisible to a stranger’s eyes, has led him to understand the limits of the traditional language of description. The language of abstract painting is more universal, although one artist out of two uses it in his very personal way to express his feelings and ideas. Eduard Grossman is distinguished by a colorful, romantic way of thinking, a tendency to paint the eternal being in preference to prosaic everyday life. Certain of his abstract compositions frequently contain the silhouette of a bird or a fish or the outline of an imaginary animal.
These elements, introduced forcefully in the melting pot of the artist’s imagination, are inspired in the colorful panorama of a creative microcosm.At the same time, the artist is motivated by an acute sense, the consciousness of his historic roots, and we can find in Eduard Grossman’s pictures his attraction towards the original traditions of Oriental culture, with images and texts, forms and calligraphies, colors, assembled lines and letters which form a single organic whole.In our age, the idea of the beauty of paintings has lost its attraction for many artists. For Eduard Grossman, beauty retains its fundamental importance, and aesthetic criteria are for him just so many landmarks in the oppressive labyrinth of postmodern timelessness.
After such a dramatic and such a contradictory century, and in the context of a profound and lasting crisis of spiritual, artistic and humanist values, there is a vital and particularly intense need for an art which reveals to us the sparkling richness and charm of the world around us. Grossman’s art does not degrade, but elevates, mankind. When we immerse ourselves for a long time in Eduard Grossman’s painting, we become convinced that this world is beautiful and marvelous.
Professor Gregory Ostrovsky
Hebrew University of Jerusalem
Doctor of Art History