1945 EXHIBITION AT THE NEWHOUSE GALLERY, NYC
After five years the new work of Anna E. Meltzer appears in her third "one-man" exhibition. Her interests are wide and varied concerning subject matter. In particular she is greatly interested in musical motifs, for she is also a musician. In her most recent work color has been this painter's most absorbing problem as she strives to give the fullness of form to her subjects. Her luminous technique leads us to the rich, deep harmonies and joyous perceptions that constitutes her unique new canvases.
1948 EXHIBITION AT THE MARIE STERNER GALLERY
Anna E. Meltzer is one of the rare artists of today, technically equipped to express her observations and emotions in terms of art, without resorting to the affectations and idiosyncrasies, which too often give the false impression of originality.
Her work will therefore be appreciated by the more exacting connoisseur, who will recognize the profound and sensitive characterizations of humanity - whether spiritual, realistic, or humorous - which she portrays with the sympathetic interpretation of what she feels as well as what she sees.
1964 EXHIBITION AT THE PETER COOPER GALLERY, NYC
The paintings of Anna Meltzer are "an intended expression of an abstract concept." They are finely cut to become coexisting from an artistic viewpoint.
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.
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 a spiritual concept of pure mind, the walls giving way to themselves by dividing abstractly and breathing luminous colour for its own poetic harmony.
Yes, Anna paints poetry in a harmonious organized metamorphosis aesthetically united with the great masters of this century. Like a labyrinth of a mythical Greek temple built by the sound of music played by Amphion, so do these works resemble. Each painting has a self sufficiency only lyrically attached to its neighbor.
This is not the place to objectify each work separately, but as a sculptor I must say that in these days where art blossoms around the world in spite of negative threats, these paintings call for attention and symbolically call for eternal beauty, harmony and peace.
21st Sept. 1964