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Maximilian Presnyakov, a member of the Union of Art of Russia (of a member of the International Association of Art/ Association Internationale des Arts Plastiques IAA AIAP UNESCO), was born in Vladivostok in 1968. He spent in Vitebsk about ten years. Here he attended a local art school; later he moved to Ryazan. After receiving a diploma at the Ryazan Art College , he went to study in Moscow, at Surikov Institute, from which he graduated in 1996. From 1996 to 2009, Maximilian Presnyakov was the head of the Graphics workshop at the Ryazan College of Decorative and Applied Arts (there he developed and implemented his own methods of teaching and teaching programs). He is author of a textbook on the subject of Perspective (published by Russkoe Slovo, the Ryazan publishing house, in 2003; the reworked version is a classical textbook on perspective – it was published by FORVM, in 2012, in Moscow). He also has written an integrated textbook on composition, plein air painting, watercolor painting, gouache painting and other techniques, entitled “Conversations in the Graphics Workshop” (Ryazan, P. A. Tribunsky, 2012). He has been a teacher at the Ryazan Fine Art Studio since 2008 (and the director of that studio – since 2009). In 2010 he became a teacher at the Saint-Petersburg High School of Folk Arts (the Ryazan branch).

Maximilian Presnyakov works with graphics, watercolor painting, oil painting and other techniques. He also was engaged both in illustrating and designing several books, mostly on historical and historical fiction topics. He worked with such publishing companies as Veche, AST, INES, Faïr, FORVM, Science and Religion, Amrita-Rus, White Alves (all from Moscow), Russkoe Slovo, Uzorochye, Ring, Priz (all four publishers from Ryazan). In 1993–1997 he was the chief artist of an orthodox children’s historical magazine entitled “Пчёлка” (lit. “little bee”). He also has made several series of illustrations for an edition ofThe Book of Veles and for an edition of The Slavic Myths, after his careful investigations of a number of primary sources (most of the works of previous illustrators weren’t plot-based and lacked scientific background). The first of those illustrations were published in 1995. Later the artist created more than 200 illustrations, as a result of his scrupulous work through many years.

He has written a series of theoretical articles about art: “About the Mental and the Spiritual in Art”, 1998 (some thoughts on V. Kandinsky’s monograph, About the Spiritual in Art; fragments of the article were published in The Delphis magazine no.2, 2004; fully published as a book in 2011, in Ryazan); “Art and Metaphysics” (The Delphis magazineno.3, 2009); “Is it possible to learn to be creative?” (in the Moscow magazine The Art Schoolno 2, 2009). As an author, M. Presnyakov wrote many articles for several Moscow and Ryazan magazines: Наука и религия (lit. “science and religion”; 2008); Дельфис (lit. “the Delphis”; 2004, 2009, 2013), Юный художник (lit. “young artist”; 2009, 2012, 2015),Художественный совет (lit. “art council”; 2009, 2012), Studio D'Антураж (2010),Собранiе (lit. “art collectyon”; 2014). He has created a programmatic article entitled “Structuring of Compositional Thinking and Ornamentalism in Fine Art”, in which he speculates about the forms of visual language, about the sign plastic and the rhythms. A short version of the article was first published before the international group exhibitionOrnamentalism-2010 (Ryazan), in an exhibition booklet (in that exhibition M. Presnyakov participated as a promoter and as an artist). Some materials of that article were later included in his scientific and publicistic book Ornamentalism in Fine Art and Structuring of Compositional Thinking (Ryazan, Russkoe Slovo, 2013). A short monographCompositional Thinking, Artistic Image and Cognition was published before his solo exhibition Myth&logems, at the Palette gallery in Ryazan (2010).

Besides numerous newspaper publications about Maximilian Presnyakov, the articles about him, as well as publications of his paintings and graphic works, appeared in the following Russian magazines: Детская литература (lit. “the children's literature”; 1997),Меценат (lit. “patron of the arts”; 2001), Волшебная гора (lit. “magic mountain”; 2004, 2012), Московский журнал (lit. “the Moscow magazine”; 2008), Studio D'Антураж(2008), Рязань CITY (2008).

M. Presnyakov also has prepared and published a book entitled “Conversations about the Songs” (under the auspices of the Ryazan College of Decorative and Applied Arts). The book represents the most complete version of the theoretical legacy of Boris Alexandrovich Dekhtyarev, one of the leading artists of the soviet book (Dekhterev was the chief editor of the publishing house “Detskaya Literature”, a corresponding member of the Academy of Arts of the USSR, a professor at Surikov Institute). The book was printed before the anniversary of the birth of B. A. Dekhtyarev. The introductory article for that edition was written by M. Presnyakov, as well as the article about Dekhtyarev’s manner of teaching at the institute.

Maximilian Presnyakov has published several articles on art and art pedagogy for both printed and electronic media. A large number of his theoretical articles are not yet published.

Besides his realistic work, Maximilian Presnyakov realistically develops and theoretically comprehends some new and original style and genre trends in fine art. E.g. for his solo exhibition Myth&logems (2010) the artist presented the series of paintings made by him microscopically and depicting different micro-objects (such as a fly, etc.), as well as another series of his works represented the objects that could be rather imagined than observed (e.g. the painting entitled “Inside the Atomic Nucleus”). The artist comprehends and substantiates the notion of “color” in painting not as a random combination of colors, but as a special matching of colors, which brings a high level of harmony and peace to the viewer’s mind. Such his thoughts formed the basis of his theory of color breathing (s. his article “About the Mental and the Spiritual in Art”, 1998) and ecology of color, which underlay his conception of a “New Color” in 21^st century painting (some artists developed similar ideas in the second half of the 20^th century). The objective and the subjective senses of light in visual art, their interplay are considered by M. Presnyakov in his article “Light and Image” included as the first part of his similarly named book (Ryazan, Russkoe Slovo, 2013).

The artist thinks necessary to unite the idea and the visual nature of harmonic color, which have been artificially separated for the last two hundred years, and therefore the first and the second may be found in different paintings and styles. In his publicistic essay on art theory entitled “Compositional thinking, Artistic Image and Conscience” the author considers the process of myth-making as a key factor for the evolution of any art, especially of fine art, whether in the past or the present; he also defines the phenomenon of art as one of the tools for learning and digestion of physic and psychical reality within personal and social development.

In his publications the artist develops the idea that such concepts as style or movementlargely have lost their original values in the modern environment; they also may cause misunderstanding and confusion, though we have to use them. However, the author offers another method of generalization in art; in particular, he means domain and domain groups, etc.

Since the first years of his painting M. Presnyakov has worked out the theme of “Creativity and Dreams”. His early articles on this topic were written and published on the Internet in the mid-1990s. He also has given several seminars on this theme.

Maximilian Presnyakov has participated in more than 250 exhibitions for the period 1990–2015 (in Russia, Belarus, the Netherlands, Switzerland, Ukraine, India, Hong Kong, Montenegro, Italy, Bulgaria, Luxembourg), including 43 solo exhibitions (in Russia, Belarus, the Netherlands). He won several artists’ competitions in Russia and abroad and received many diplomas and other rewards from the different exhibitions. His paintings and graphic works were published in numerous albums and booklets; they are represented in the collections of the Ryazan Art Museum, the State Art Gallery “Na Kashirke” (Moscow), the Moscow Museum of Folk Graphics, the Ivan Pavlov’s House and Museum (Ryazan), the Sergey Esenin Estate and Museum (Konstantinovo, Ryazan Oblast), the Ryazan Museum of Explorers, the Youth Movements’ History Museum (Ryazan), the Ryazhsk Museum of Local History (Ryazan Oblast), the Spassk Museum of Local History (Ryazan Oblast), the I. P. Pozhalostin House and Museum (Solotcha, Ryazan), the Wildlife Museum (Oksky State Nature Biosphere Reserve, Ryazan Oblast), the Isaac Levitan House and Museum (Eliseykovo, Vladimir Oblast), the Abakan Art Gallery (Republic of Khakassia, Russia), the Lebedyan Museum of Modern Art (Lipetsk Oblast), the Surgut Art Museum (Tyumen Oblast), the Tsjernina Art Gallery (Amsterdam, the Netherlands), as well as in private collections in Russia and overseas. The artist participated in the reconstruction of the Wildlife Museum in Brykin Bor, Ryazan Oblast (reconstruction and creation of landscape paintings).

In addition to his solo exhibitions on traditional topics, Maximilian Presnyakov has organized a series of innovative projects, which names were deliberately unusual for Ryazan:Living Still Life (the ROUNB Gallery, 2001; the rare theme of “ironic” still life); Tradition, Legend, Image, inspired by old Slavic myths (the press center of the Culture Management Agency of Ryazan Oblast, 2001); Crossing Worlds, a solo exhibition (“synthesis of the arts”), the synthetic project combined the same space and the same semantic field. The combination included several fantastic pictures and graphics based on outer space themes, and the acoustic space of two simultaneously sounding songs composed and recorded by the artist himself, as well as several science-fiction stories and novels written by him (the Gallery Club, the Children’s and Youth’s Library of Ryazan Oblast, 2002); a similar exposition, Crossing Worlds and World Elements, with other three simultaneously sounding tracks (the Lyceum Gallery, 2003); his solo exhibition of comic pictures, The Distorting Mirror, the “childish” graphics and the “childish” poetry of M. Presnyakov (the Gallery Club, the Children’s and Youth’s Library of Ryazan Oblast, 2003); the exhibition of his biblical images, The Sign (the Gallery Club, the Children’s and Youth’s Library of Ryazan Oblast). Maximilian composes his own original music for his exhibitions. In 2010 M. Presnyakov and Gorky Library (Ryazan) organized and held the first Ryazan Specialized Exhibition of Contemporary Illustrations, which later developed into the Biennale of Book Illustrators and Designers. In 2011 he was a curator at the international art exhibition The Outer Space, dedicated to the first human spaceflight in history. He has also organized a group exhibition on physical education and sports (the exhibition with international participation; the Youth Movements’ History Museum, 2014), dedicated to the 2014 Winter Olympics in Sochi. The artist participated in the 4^th and in the 5^th Moscow Biennales of Contemporary Art.

Maximilian Presnyakov is also engaged in musical and literary activity (he has written a book about prehistoric times, with his own illustrations, Four Circles of the Sun Wheel, published by White Alves in 2012). He invents and makes his original models of experimental musical instruments. Maximilian was the leader of the creative musical laboratory Полёт Арьястейя (lit. “the flight of Aryastey), which worked from 1999 to 2004. The laboratory developed some traditions of Russian folklore, tried to reconstruct the music of ancient times (the album of “neolithic music” The Times of Ancient People; an album inspired by the ancient music of peoples of the North A Holiday on the Lake Seydozero; 2001) and to combine that material with the modern acoustic avant-garde music (such albums asApotheosis in the Archean (2001), The Sphinx (2001), The Riddle of the Sphinx (2002), The Apotheosis of Homer (2002–2003)). The laboratory gave birth to a new musical genre called “поэмофония” (lit. “poemofony”) in which several group albums were recorded (as well as several solo albums by M. Presnyakov).

The artist participated in several Russian Geographical Society expeditions (e.g. the 2014 RGO expedition to Spitzbergen in the footsteps of the 1898–1901 Russian geodetic expedition).