Boris Anisfeld

The deposition at the centre of Destiny is surrounded with ten vignettes reproducing other works by the artist: the dreadful cogs of War (1935-42), for example, appear lower left, the deep red of Inferno (1930s) above. Anisfeld combines religious, mystical and contemporary iconography in the Neo-Primitive manner of Stanley Spencer, whose biblical scenes transposed into modern settings achieved a similar synthesis of early Italian painting typified by Giotto, and Gauguin's unique style of Post-Impressionism. This daring juxtaposition in the present work recalls Paul Gauguin's Breton scenes such as Green Christ (fig.1), the elongated figures and jewel-like palette, those of the Mannerist Jacopo Pontormo.

Scenes from both the Old and New Testament form the core of Anisfeld's oeuvre, from his earliest works such as Adam and Eve (1910s), to his later Christ and Pilate (1950s). 'Anisfeld's boyhood drawings were mainly after Biblical themes and scenes, and there persists to this day in his art much of the mystic fervour of a book which, though appropriated by the Western world, remains Oriental in its sonorous, colourful imagery." (C.Brinton, introduction to The Boris Anisfeld Exhibition, Reindhardt Gallery, 1924). Anisfeld absorbs both East and Western influences, whilst retaining the imaginative fervour and sumptuous tonality that characterise his best works. As ambitious as it is epic, this colossal canvas is the most important painting by the artist to be offered in recent years.