Dmitry Petrovich Plavinski is one of the best masters of the Moscow ‘unofficial art’. Between the 1960’s and 1980’s he was among the so-called ‘twenty’, a group of Moscow artists called the ‘avant-gardists’, back then he also took part in many exhibitions which at the time were notorious. In his own words, the artist describes the artistic movement he developed as ‘structural symbolism’ where an integral view of the world disintegrates into a sequence of symbolic forms, subsumed into the strata of time – the past, present and future. Astonishing for their execution, Plavinski’s etchings and Indian ink and brush drawings, his painting as well as his graphical works stand out for the unusualness of their intricate texture and technical execution. The multiplicity of meaning and metaphysicality are somehow historically intertwined with the material and continue in the vein of the classics – Dürer, Goya and Rembrandt. From 1959 onwards, Dmitry Plavinsky travelled extensively and worked in a number of northern Russian towns – Novgorod, Pskov, the Ferapontov Monastery, Yaroslavl and Kostroma. The artist began with abstract painting (1962-1964). In 1964 he produced a graphical book of grasses painted from life after which he finally moved across to figural painting, as well as texture painting, and his works increasingly included religious motifs. In the middle of the 1960’s the artist created large canvases entitled ‘Gospel of John’, ‘Novgorod Wall’ and ‘The Ancient Book’ which used plastic and ligatures of scripts from ancient Slavic texts. Etchings played a prominent role in the artist’s work.