Andrei Protsouk's new and featured artwork page. Andrei Protsouk constantly updates his new and featured work page. Rare work, closing limited editions and newest work are not all shortcomings on this page. Protsouk's dynamic style changes with each year. You can frequent this page to see how his style changes throughout the years.
Andrei Protsouk Limited Edition prints are some of the most sought after in the collector's art market. Andrei exhibits hundreds of images he reproduces as limited edition prints on canvas which he then hand embellishes them with a textured medium.
Classically trained Andrei Protsouk has devoted his career as an artist to perfecting technical drawing. Protsouk has produced thousands of drawings throughout his life. Here are some of his selected works available for purchase.
Andrei Protsouk offers unique hand embellished Limited Editions of his paintings that are in high demand from collectors all around the world. Protsouk uses a technique for embellishment called G-Hand where he textures each reproduction on canvas.
ART & DESIGN PUBLISHING is the official trade distributor of Andrei Protsouk Fine Art in the United States. We would like to provide your gallery with Andrei Protsouk's museum-quality contemporary fine art Originals, Hand-Embellished Limited Edition Giclee's and Ultra-Limited Framed Works on Paper.
During the late 1980’s into the 1990’s marked the beginning of the end of the Soviet Union. The Soviet government still had a stronghold on the creative output of its artists and most notably against politically charged artists. By the 1990’s, the Soviet government had combated artists for many years such as the Bulldozer Art Movement. The Soviets were still trying to hold onto the Communist party roots and filter the creative content of its artists. The government still relied on the social realism themes of the worker party by wanting to convey soviet life as a thriving socio-economic power. Although Andrei had never participated in these rebellious art movements, he did incorporate their general themes in some of his most private artwork. These can be observed in some of the artwork he had created during these times. One piece in particular, “Blue Chicken” depicts a chicken unwrapped in the Soviet socialist paper “Pravda” with a utilitarian looking fork and knife on a rugged wooden table. The center subject of this piece is of course the blue chicken which represents, cynically, the quality of the food sold to the people at markets throughout the Soviet Union. These chickens, as Andrei confessed, “were blue because who knows how long they have been dead for.” In the meantime, the Soviet government’s propaganda machine was sending messages of prosperity to the rest of global world.
Ilya Repin Academy of Arts (Imperial Academy of Art)
The school was founded in St. Petersburg in 1757 by Ivan Shuvalov. The current building was built in 1789 by Catherine the Great who renamed the school the Imperial Academy of Arts. The school focused its core curriculum on neoclassical styles and techniques and was made a requirement to complete for any student pursuing a successful art career in the Soviet Union. It was named and dedicated later to Ilya Repin, an alumni and Russia’s most prominent realist painter. The school was home to some of Russia’s most famous and reputable artists such as Ivan Aivazovsky, Alexander Laktionov and Andrei Mylnikov. Some of which Andrei Protsouk had the pleasure of learning from such as Alexander Laktionov and Yuri Neprintsev.
It was there that Andrei Protsouk went to study under his soviet artist idol, mentor and teacher Evsey Moiseenko.
“I know him from his artwork, of course. He was the most prolific artist in the Soviet Union and was the most talented artist in composition and the way he painted lines, same as I have in my paintings. This is my love of painting, that [defined] black outline. He [Moiseenko] loved it too. I always wanted to get to his studio. It was very hard to get into. He was the professor that I wanted to study under my whole life. He only accepted 5 to 6 students the whole year.”
He goes on to recall, “the most important thing he ever told me, is you have to be very critical of yourself and what you are doing [as an artist]. As soon as you think you are a great artist you are a dead artist.”
Moiseenko spent a lot of time with other great artists and his contemporaries such as Belarusian artist Marc Chagall. Moiseenko used to tell Andrei and his students about his romanticized trips to Paris on his visits to Picasso’s studio. At the time, to allow artists to travel outside of the Soviet Union, it was a very contemporary and exclusive permission.
Evsey Moiseenko was born in Leningrad (St. Petersburg) in 1916. He was nominated the People’s Artist of the USSR (1970). Moiseenko was an enrolled member of the Academy of Arts of the USSR (1973) and the Hero of the socialist Labor Party. He earned these endowments for being one of the most exceptional social realist artists of the Soviet Union while staying truest to the studies of the Imperial Repin Academy. He was notorious for representing the ‘romanticism of youth’ in the Soviet Union and has permanent works in the State Tretyakov Gallery in Moscow, Russia. The imperial art academy is rooted in the traditions of painting from the Italian Baroque period which had transplanted to Russia when the school was first established by Katherine the Great. She had introduced European art as a course of study in St. Petersburg, the epicenter of Russia’s European Renaissance, by importing the top Italian masters. These painting techniques had created the credibility of the academy today and provide students a world class classical education.
Moiseenko embraced these techniques of painting to his students. His cut-throat program appealed and presented Andrei with a challenge that would move onto create the master artist he is today. Moiseenko was regarded as having the best student studio in the Repin academy at the time. His studio had the most selective acceptance and Protsouk had to enroll several times over the course of a few years. Andrei cites, “he [Moisenko] accepted one student to a couple thousand applicants a year, it was extremely difficult to get into his Master’s program.” With due diligence and exceptional talent that Andrei possessed, he was eventually accepted and was exposed to Moiseenko’s teachings after graduating the Lugansk Academy in Ukraine in 1981.
As mentioned before, Moiseenko was one degree of separation from the masters of the time such as Marc Chagall, Pablo Picasso and Andrew Wyeth. Moiseenko was a colleague of these artists and they revered him as one of the most exceptional artists of the Soviet Union. Specifically, when Andrei was in his last course of study in 1987, Andrew Wyeth had an exhibition in the Repin Academy. This was the first American artist Andrei was exposed to in the Soviet Union. This planted the seed of Andrei’s dreams of moving to America. Little did he know, Andrei would make his home in the United States in the same state and less than 100 miles from Wyeth’s estate in Pennsylvania.
Andrei Protsouk’s classical education at the Imperial Academy of Fine Art included the study of Iconography. Iconography is one of Russia’s most prized studies and practices in art history. The Russian Orthodox church played a vital role in Russia’s long religious history. After the adaptation of Byzantine Christianity in the disputed year of 988 in cohort with future Greek missions to convert pagan Russia to a Christian Russia, in its infancy, Russia had become the world’s epicenter of Iconography. Some of the world’s oldest art schools in iconography still exist in many parts of Russia. Even though the Soviet Union preached Atheism, after the fall of Stalin, who destroyed some of the most important churches in the Orthodox religion, the soviet union embraced iconography again. The Soviet Union recognized it as an important art form and even restored some of the churches it previously destroyed. Although you could not go and pray in the churches during the Soviet times, citizens were still allowed to visit them for their historical significance and admiration of the artwork. The Imperial Academy of Art also taught iconography as one of its course studies to educate young artists about the nation’s most important art form, iconography. Protsouk took a heavy interest in iconography and studied many of the most famous Russian iconographers. If you look at his iconography you can see its influence in some of his own artwork. One of Protsouk’s favorite movies is about Russia’s most important Iconographer Andre Rubleev in the famous Andre Tarkovsky film ‘Andre Rubleev.’ Imperial Russia prior to Peter the Great only allowed artists to paint religious subject matter such as icons and forbid them to paint anything else. This was much how the Soviet Union only allowed artists to paint social realism and communist party related imagery. Therefore, because Andrei had an interest in iconography in his studies when he moved to the United States he had been in contact from the North American Russian Orthodox society. They wanted an artist familiar with traditional iconography and its techniques to help restore some of its churches in the US. Consequently, Andrei’s first big project in America was the full restoration of St. Michaels Church in Jermyn, PA. He repainted over 200 icons in the church and the ceiling, a project that spanned over 3 years from 1994-1997. Years later in 2010, Protsouk would go to paint a newly built Russian Orthodox Church, St. Andrew’s, coincidentally, in St. Petersburg, Florida. The project took two years was completed in 2012. Interestingly enough, the icons Andrei painted in St. Andrew’s were completely original and Andrei’s own. The church has a strict policy on iconography and any religious imagery but Andrei took the liberty of combining various icon styles over the course of Orthodox history to create his original icons. This was also noticed by the archbishop of the orthodox church in North America and he was at first apprehensive in blessing the icons but after a discussion with Protsouk, the bishop was impressed and blessed the icons by the Russian Orthodox church.