GALLERY III

Prismatism Applied to Abstraction

This phase of the work of Anna E. Meltzer has been analyzed by several critics. The following is excerpted from the review by Bess Barzansky.

Anna E. Meltzer, artist and musician, has several times reached a crescendo in her painting. Such a one has happened in her newest work, named prismatism, bringing it to an exciting climax. This most recent expression of her creativity has slowly and surely grown from the early realistic, sensitive and deeply felt works, all influenced by her lifelong love of music, into this new, dramatic and contemporary facet of her art.
"The unrevealed is a good reason for keeping the artist's spirit alive." Mr. Rene Shapsak, sculptor, artist, curator of the Palathea Museum of Modern Art in London, Ontario, and a long time admirer of the work of Mrs. Meltzer, wrote in evaluating this dynamic new style as follows: "The paintings of Anna Meltzer are an intended expression of an abstract concept. They are finely cut to become co-existing from an artistic viewpoint."...."This mass is divided into translucent architectonic improbability or a combination of solid voluminous shapes framed in diamond shapes next to their partners that continue to integrate color-form in an enormous play of an abstract beauty of transparency."... "Contemporary works of art need not be horizontal nor vertical. Should they be restful or in motion? Form in free space or organic forms? No, Anna's paintings recede to themselves in a spiritual concept of pure mind, walls giving way by dividing abstractly and breathing luminous color for their poetic harmony."... "Like a labyrinth of a mythical Greek temple built by the sound of music played by Amphion, so do these works have a self-sufficiency only lyrically attached to their neighbors."... "I must say that these paintings call for eternal beauty, harmony and peace."

Click in this column to see a full page reproduction.	Title and Date Medium and Size	Notes
	Etude 1956     Oil 35 x 43	The mass is divided into translucent architectonic improbability or a combination of solid voluminous shapes framed in diamond next to its partner that continues to integrate colour form in an enormous play of an abstract beauty of transparency. Shapshak
	On The Threshold Of The Beyond 1960   Oil 58 x 44	An astonishing painting, which cannot be represented accurately by the images shown here. Be sure to look at both the enlarged view and the portion of it that is shown in detail (accessible from the page containing the enlargement).
	City Patterns 1960   Oil 25 x 30	The title is accurate. The original painting (but perhaps not the reproduction) conveys a sense of the confusion and excitement of a big city.
	There Is An Horizon 1960   Oil 30 x 40
	Interrelated Structures 1960   Oil 30 x 40
	Synchronization 1960   Oil 30 x 40	Repeated viewing always seems to reveal a new facet, or a new relation, between the carefully selected forms and colors.
	Mechanization 1963   Oil 23 x 25
	(Untitled) 1964   Oil 30 x 40
	Series of Sounds #10 1968   Oil 40 x 30	The Series of Sounds, begun in 1966 and completed in 1968, derive from the artist's considerable ability as a pianist and deep interest in classical music.
	Aesthetic Exercise 1971   Oil 42 x 42	This is one of the last paintings by Anna E. Meltzer. Her final work, begun in 1973, was interrupted by an unrelenting illness.

Gallery I: An Emerging Realism

Gallery II: The Transition Towards Abstraction

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