What critics have written about Georg Glaser:


"... References to the consumer society, to the dehumanisation of the world often bump into each other in the stacking up of this constructed painting where numerous signs pile up and overlap. Mostly however, Glaser punctuates the composition with major lines, the legibility of which catches the spectator of this modern scenography with an air oft soft decline..."

(Michel Héliotte, September 2004)



"... After a first good impression - his paintings are bright, their composition merrily and besides falsely anarchic - it remains to decipher a work which belongs to social criticism as much as to ethnographic studies... all that being distilled on the mode of caustic irony..."

(F. Hendrickx, La Meuse, 19 December 1998)



"... His effects are coming from the clarity of forms, to which he sometimes gives the sharp outlines of a scissor cut, and the free drawing of which makes somehow think of Matisse. His origin in the academic realistic school is indeed still perceived in the anatomic design of Glaser's figures animated in an expressive way... But he attains here with his new paintings a degree of abstraction, which is efficiently appropriating his figurative experiments..."

(Hans Georg Böcher, 1987)



"... But his "message" is nevertheless social: some titles manifest such as 'Peinture des mœurs allemandes' (Painting of German customs), 'Hommage à la loterie coloniale' (Tribute to the Colonial Lottery), 'Le rêve de la liberté' (The Dream of Liberty)...
... There is in him and in his expression a taste for social participation and for a criticism of customs, which links him up with a whole German expressionist past and present..."

(Jacques Parisse, La Wallonie, 30 November 1984)