Anna Zarnitsky

Anna Zarnitsky was born in Irkutsk in a family of an artist, graduated from the Irkutsk College of Arts, and from the faculty of drawing of the Moscow Pedagogical State University. She studied the concept of color in the Moscow country-cottage Senezh. Since 1990 she lives in Holon, Israel.

She has been cooperating with the “Yellow Gallery” in Prague, the “Baker Street” and ”Dilon” galleries in Old Yaffa, the Aliyah Arts gallery in Canada, and the Tiroche Auction House.

Anna Zarnitsky is member of the Israeli Professional Artists Association (functioning as the Association Chairman), member of the Russian Artists Union, participant of numerous exhibitions, the most significant among them are her personal exhibitions in the Ramat-Gan Museum of Modern Art, in the Tel Aviv Bible Museum, in the Jerusalem Center of Arts, in the Kharkov Museum of Decorative-Applied Arts and the Kharkov Academy of Fine Arts and Design.

Her works are exposed in the Jerusalem Museum of Nature, in the Holon Cactus Park, in museums in Russia (Irkutsk), Ukraine (Kharkov), Belarus (Minks, Vitebsk, Baranovichi), in embassies of Russia, Ukraine, Belarus, Uzbekistan in Israel, in regular collections in Israeli galleries (“Dilon”,“Baker Street”), in the Canadian gallery “Aliyah Arts”, in the Czech “Yellow Gallery”, in the Ukrainian “Maxim gallery”.

Myself in Nature

Nikolai Rubtzov has a children’s verse:

He saw me and stood stock-still, Funny and kind, like a tin god…

I recall these lines each time I am looking at the painting “A Horse with a Foal” of Anna Zarnitsky, conveying an amazingly pure sensation of nature. Cute, moving, funny, puny, incommensurately small, the foal made itself comfortable under the cupola-marquee of its stout horse-mother.

The “tin-god” is in the green-azure meadow grass. Kind, naive, tender, with eyes-sweet-cherries, under the alert eye of the mare, it is staring at me, riveting and disarming, like a kid.

Compositionally, the mare and the foal are disposed on the canvas as if taken close-up in the operator’s lens. The upper part of the model is cut off, so that the eyes of both the foal and its mother are at the level of your eyes, to indicate that the rest of the details appearing on the canvas are less important. No matter what is the side you approached the canvas from, you always remain at the level of their gaze, lucid, trusting, piercing, promoting emotional return to yourself as child, when you did not know what lie means… And here is another work, a loving couple of horses, lyrical, beautiful, pastoral. Golden-blue from the sunset, they abide in their unparalleled dimension, as if there is nothing fleeting, transient in the world, and the moment of beauty is eternal. And it is impossible to understand, who looks at whom in this world. Whether it is the artist, surprised and grateful, grasping himself in nature, or the nature, happy and blessed, grasping itself in the artist. And then apprehension comes, like awakening in the morning: isn’t it the secret of ultimate merging of the artist with the entity. And there exists one indivisible book of nature and the artist. “Everything in Myself and Myself in Everything” is the truth of the creator…

But the world imprinted on the canvas is strong not for its photographic similarity, but for the emotional sensation of the artist’s color and line.