What art critics have said about Eduardo Bendersky...

...That is why it is possible to state that Bendersky paints what is not usually seen. In a sense he "makes the invisible visible".

Aldo Galli.


....With a brush that glides in silence Bendersky gives form in rose, grey and sky blue to a series of presences, which absorbed by the retina of the observer, are less evanescent than they appeared to be. Sensual without seeming to be, spiritual without attempting to be, the art of Bendersky is one that, like Poe’s raven, settles in the window to stay.

Rafael Squirru.


I have been invited to write about the work of Eduardo Bendersky and I am enjoying doing so: his lyrical force moves me. Because Bendersky is a classic. He has seen paintings, Piero della Francesca, Ingres, Modigliani perhaps, but he is modern in the posture of the models, in the way he places them on the paper; he carefully lowers the thickness of volume; he searches for balance amid asymmetry; he composes according to the space; an element of contrast in the perfect placing of the figures - and of movement, a substitute for the time which controls it. Being classical he does not penetrate matter, he recomposes it in terse surfaces, leaving only traces of vital energy...
The quality and style of the drawings rests on the discovery of this a priori, because thanks to it the forms detach themselves from the figures to reveal "being" in action, and create art...

Jorge Romero Brest.


... As César Magrini says: "Bendersky rescues his work from the trickery of measurable time and masters the other, interior time". A concept that distances it from the rationalism and materialism of the west to get closer to the idea of "being" in oriental philosophy. Bendersky’s work, besides its aesthetic perfection, is the expression of a profound philosophy and of an exquisite inner life.

Susana Metzadour.


These forms speak a language that is ancestral, they refer to a memory extending back along the centuries, which without any kind of forethought leads us to the purest sources of esotericism. The hieratic nature of those vertical masses, whether or not they respond to an anthropomorphic echo, keep their contemplator in a state of secret and respectful withdrawal, they incite silence, a lowering of the voice, like someone who has been called into the presence of the sacred, as in truth occurs each time one has the sensibility needed to commune in those rites where the human is celebrated by participating in what it has of divinity; or if less theological language is preferred, where the temporal is celebrated as a function of eternity.

Rafael Squirru.


...There is in the invisible itinerary of that tendency, in the conviction of its inner being, the measure of a certainty, which inevitably contains the first and last reasons of existence.

Aldo Galli.


... This is not the painting of entertainment, it is not done to satisfy the aesthetic needs of a cultural circuit; it is painting that with timeless forms and evanescent colours goes beyond the visual substance of its subjects.

Aldo Galli.


He offers himself as a medium for expressing ineffable intuitions; he submits to being a vehicle for the expression of what lies beyond the sensorial. César Magrini was right when he called this willingness of Bendersky a "high and unequalled task". We’re not dealing here with the mere task of painting (substantial though it may be) but with the genuine expression of life as a whole. Bendersky is an examiner of essences with a remarkable ability to transform them into art. As Paul Klee wished to do, he "makes the invisible visible". His commitment resolves that apparent paradox. Since 1948 he has been exhibiting his work in one-man shows, but he does not exhibit often. Perhaps he considers them superfluous, something imposed by the style of the times. His fundamental, essential task is in the studio. That is the natural centre of an enquiry which transcends the boundaries and the context of artistic activity. Bendersky will live on in his work as one of the highest landmarks in Argentine painting.

Elba Perez.


Like a sensitive seismograph Bendersky registers the softest and lightest tremors of matter, which it transfigures into the ethereal substance of what endures. His palette without contrasts, kept in tones like whispers, leads us to the verses of the immortal Swan of Avon: "We are such stuff as dreams are made of /And our little life is rounded in a sleep."

Rafael Squirru.


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