Exerpts From Clippings
"Of the art manifestations to the public, we have on one hand the exhibitions of the amateurs, who are interested in producing points that make the success of the 'French Society of Artists', and on the other hand, those who reflect theprofoundefforts of independent painting. To this last category belongsBezalel Schatz. . . . . His use of the materialin color produce a striking and sweeping effect. His clear colors successfully and agreeably represent to us the Italian landscape.״
G. J. Gross, Paris - Midi - 1937
". . . . His paintings are directed entirely towards color and in color towards fiery nuances. His design is lyric, based on creating an effect whose secret lies greatly with the power not to fear confusion.״
Claude Roger Marx, Beaux-Arts - 1937
״From an academic training in Jerusalem, an impressionistic training in Paris and influences received during his travels in Hungary and Italy, his art developed through all these stages into a brilliant expressionism since he has lived in America.״
J. B. Neuman, Catalog to Expressionism Show - 1941
״Schatz is a profoundly interesting painter with a very passionate sense of color, with an ability to project compassion through strange and yet natural devices of brushwork."
Ludwig Lewisohn, The Opinion - 1938
". . . . If one is to judge by the exhibition of Bezalel Schatz's work, he is to be placed in the front ranks of young contemporary artists. He has power and restraint and he has that other inexpressible something that if it is not genius, borders it. Namely, the ability to use tradition and the ability to use his own creative faculties while hammering his way into the unborn future.״
Alfred Morang, Santa Fe Mew Mexican - 1939
". . . . Schatz's work is strongly personal. Altogether it is enormously alive, resonant opulent painting by a man with great sympathy for his medium."
Emily Genauer, New York World Telegram - 1941
". . . . Schatz paints with emotion andstrength and his work has vitality. ״Girl in Blue״is one of the most successful works, with its quivering light on the face of the subject making it vivid and exciting•״
J. L., The Art News - 1941
"...Successfully for the most part,he pushes expression almost to the point of abstractionism.״
The New Yorker - 1941
". . . . He is consumed with a desire to effect the intuitive organizational form of his pictures. He is an exuberant enthusiast. He is a painter who has passed through a considerable amount of growth and of whom one can expect continual growth. Though he had many influences in Paris and elsewhere, his pictures have a great deal of personal power and a rare luscious quality."
Morris Blackburn, Art Alliance Bulletin for the Schatz Exhibition, Philadelphia - 1941
". . . . These paintings of Santa Fe and Gloucester are spiritually related to the post-war modernists of Munich and Paris; but the verve and intensity of the color is something that evolved out of years of searching by the artist for a personal form of expression in paint."
Charles Z. Offin, Pictures on Exhibit - 1941
Exerpts From Clippings
"Of the art manifestations to the public, we have on one hand the exhibitions of the amateurs, who are interested in producing points that make the success of the 'French Society of Artists', and on the other hand, those who reflect theprofoundefforts of independent painting. To this last category belongsBezalel Schatz. . . . . His use of the materialin color produce a striking and sweeping effect. His clear colors successfully and agreeably represent to us the Italian landscape.״
G. J. Gross, Paris - Midi - 1937
". . . . His paintings are directed entirely towards color and in color towards fiery nuances. His design is lyric, based on creating an effect whose secret lies greatly with the power not to fear confusion.״
Claude Roger Marx, Beaux-Arts - 1937
״From an academic training in Jerusalem, an impressionistic training in Paris and influences received during his travels in Hungary and Italy, his art developed through all these stages into a brilliant expressionism since he has lived in America.״
J. B. Neuman, Catalog to Expressionism Show - 1941
״Schatz is a profoundly interesting painter with a very passionate sense of color, with an ability to project compassion through strange and yet natural devices of brushwork."
Ludwig Lewisohn, The Opinion - 1938
". . . . If one is to judge by the exhibition of Bezalel Schatz's work, he is to be placed in the front ranks of young contemporary artists. He has power and restraint and he has that other inexpressible something that if it is not genius, borders it. Namely, the ability to use tradition and the ability to use his own creative faculties while hammering his way into the unborn future.״
Alfred Morang, Santa Fe Mew Mexican - 1939
". . . . Schatz's work is strongly personal. Altogether it is enormously alive, resonant opulent painting by a man with great sympathy for his medium."
Emily Genauer, New York World Telegram - 1941
". . . . Schatz paints with emotion andstrength and his work has vitality. ״Girl in Blue״is one of the most successful works, with its quivering light on the face of the subject making it vivid and exciting•״
J. L., The Art News - 1941
"...Successfully for the most part,he pushes expression almost to the point of abstractionism.״
The New Yorker - 1941
". . . . He is consumed with a desire to effect the intuitive organizational form of his pictures. He is an exuberant enthusiast. He is a painter who has passed through a considerable amount of growth and of whom one can expect continual growth. Though he had many influences in Paris and elsewhere, his pictures have a great deal of personal power and a rare luscious quality."
Morris Blackburn, Art Alliance Bulletin for the Schatz Exhibition, Philadelphia - 1941
". . . . These paintings of Santa Fe and Gloucester are spiritually related to the post-war modernists of Munich and Paris; but the verve and intensity of the color is something that evolved out of years of searching by the artist for a personal form of expression in paint."
Charles Z. Offin, Pictures on Exhibit - 1941