Between 1930 and 1937, he studied at the W. Gerson School of Fine Arts under Edward Okun and at the Faculty of Sacred Art at the University of Warsaw. At the art exhibition in Berlin, in 1937, his painting 'Książę Poniatowski na polowaniu' received a distinction. During the war, Chruścicki worked as a sculptor in Franciszek Strynkiewicz's workshop. After the fall of the August Uprising, in which he took part, the artist was deported to the Sachsenhausen camp, then he was sent to Buchenwald. After liberation, he remained in Germany until 1948, working as a painter-scene designer in a Polish theatre for refugees and giving drawing lessons.

The artist emigrated to Canada in 1948, with the obligation to work in a factory, and at the same time became involved in the artistic activities of the Polish diaspora in Toronto. In 1950, he co-founded the artistic group Konfraternia Smocza Jama, for which he did painting and decorative work for poetry evenings, special events and theatre performances. The artist gave private painting lessons, becoming a teacher valued by his students, known as "Maestro". His work includes church polychrome paintings in St. John Polish National Catholic Church in Toronto, in Tottenham and in Oakville, in the United States: in St. Stanislaus Cathedral in Scranton, in Penna and in Camden.

In 1959, Khrushchevsky was employed by CBC television, in the stage decoration section, where he created countless set designs for plays, programmes and television shows. His drawings and prints adorned the Polish and Canadian press. In 1953, at Hart House, the artist presented designs for stained glass windows at an exhibition of religious art. As part of the Polish Week, organised in Toronto in 1957, Chruścicki showed his works in a group exhibition of works by Polish artists. In 1964, at the SPK in Toronto, the artist had a solo exhibition. On the occasion of the Millennium celebrations in St. Catharines, an exhibition of Polish art was prepared, which included Chruścicki's works.

During the Year of Copernicus, which fell in 1973, the artist painted four portraits of the astronomer: one was donated to the McLaughlin Planetarium in Toronto, another to the Museum Science and Technology in Ottawa, the third to Lakehead University in Thunder Bay, and the fourth to the Royal Canadian Astronomical Society in Ottawa. In 1975, on the occasion of the opening of the Sir Nicholas Gallery, an exhibition of Polish painters, including works by Chruścicki, was prepared. In 1977, the Toronto Public Library presented an exhibition of 16 Polish-Canadian Artists, in which Chruścicki participated. In the same year, the artist showed at the Credit Union a series of paintings entitled 'Our Heritage' - works with historical themes: portraits of Polish noblemen and chieftains, landscape and Polish manor houses.

For the group exhibition Polonia of Tomorrow - Polonia of Tomorrow, Chruścicki painted the romantic oil 'Chopin's Mazurkas'. In 1981, the artist donated two works to an art auction in aid of Poland. In 1983, the Credit Union presented the battle series 'King Sobieski at Vienna', inspired by the anniversary of the relief of Vienna. The Polish-Canadian Sesquincentennial Art Exhibition, organised in 1984, in which Chruścicki participated, was an opportunity to confront the work of artists settled in Canada after the war with the young immigrant artists of the 'Solidarity wave'.

Chruścicki was a continuator on the Canadian ground of the Polish school of historical realism, which he combined with the excellent technique of a post-impressionist. In his approach, portraits of Polish historical heroes or Polish landscapes acquired the features of universality and enchanted with the palette of colours skilfully applied to the canvas. The artist created cycles of paintings dedicated to Poland and Poles: "Polish Dances", "Our Heritage", "Kashubia", "Poland in Pictures", "Jan III Sobieski". Chruścicki's authorship includes wall paintings in two Polish retirement homes in Toronto: Copernicus Lodge and Wawel Villa, and in the SPK building. The artist's family and friends managed to have published, after his death, an album entitled 'The Art of Eugene Chruścicki', in which, apart from a detailed description of his work by Andrzej Pawłowski, most of the painter's works were grouped together.

The work in the catalogue
Eugene Chruścicki, 'Chopin's Mazurkas', oil shown at the exhibition Polonia of Tomorrow-Polonia of Tomorrow, in 1978, which is important because of the strongly Polish and at the same time universal overtone of the work. A Polish landscape - fields of grain stretching to the horizon, a blue sky with clouds. In the central point of the painting is a black spot - a piano and Chopin sitting at it. The instrument and the musician form a whole by being painted in a uniform black tone, surrealistically, in the middle of the field. This black spot of the piano and Chopin is a sign, a symbol of Fryderyk's music, drawing inspiration from Polish folklore, landscape and romantic spirit. The painter juxtaposed two styles - he painted the landscape realistically and rendered the instrument and the musician and their shadow laying on the ground in a contour, poster-like manner. Through such a juxtaposition, Chruścicki's oil fulfils the role of a poster operating with a sign that needs to be developed, as it is multi-layered.