About the artist:

Shmuel (Samuel) Tepler is one of the few artists whose artistic existence takes place on two planes and who quietly and with discreet self-assurance that reaps the fruit of both orchards. He is, simultaneously, a figurative and an abstract painter. Here we find, or so it seems, one of the keys to Tepler's personality, both open and hidden. Tepler's spirituality stems from the facts as such. He does not need any superstructure whatsoever. Paint, pigments, their contrasts, their liquid flow, create delicate but solid harmonies that influence the viewer directly. Obviously, Samuel Tepler, a survivor of the Holocaust who studied painting thoroughly and seriously in Italy, and not only in Italy but specifically in Milan and at the Brera Academy - has spiritual "fathers". He continues the discoveries and the tradition of Nicolas de Stael, without following a given furrow and without imitating him in any way; for Tepler is quite incapable of imitating another painter. For Nicolas de Stael, the tension between depiction and abstractment is by no means superficial. There is, obviously, Giorgio Morandi, the genius of quintessence, and of economy of means; Samuel Tepler is spiritually of the same race - but again, his style is different. The theme is just a starting-point, but without this starting-point Tepler could not immerse himself in his abstract universe. This fact has importance if we try to understand this painter and his independent and obstinate way of working. The palette of Samuel Tepler is certainly daring. Comparatively dark about ten years ago, it became more sumptuous in recent years, maybe more aggressive; but an "absolute eye" for color always remained, somewhat similar to the "absolute ear" of great composers. Samuel Tepler is in love with color, he is intoxicated with color, but he is always disciplined. His composition is painstakingly planned to the last detail; it is based mostly on horizontal and diagonal lines, but with right angles. There are no sophisticated contrivances; the artist has no use for them, just as Giorgio Morandi did not need them at all. Certainly, Tepler, a Jewish artist, has expressionist elements; they are strong and persuasive, last not least because the artist imposes a strict discipline in his canvases. In his art we find a synthesis, fruitful and sincere, of a Jewish soul with a religious leanings (this term used in its broadest meaning), and of Italian artistic culture. Italy was the country that nourished and developed this talent. Tepler had his first one-man show in Italy, before settling in Israel, and he was highly successful in Italy during his last visit there, showing in important galleries, while significant art periodicals devoted serious essays to his art, publishing reproductions in full color. In Italy, a beautifully produced monograph with many color reproductions was published, by "Il Cigno" in Milan, with a high-level and instructive preface by the well-known art writer Mario Lepore. Just as he reaches a synthesis between depiction and abstraction, Tepler reaches a synthesis between daring and tradition, or if you prefer, between innovation and classicism. The feeling for planned and balanced composition stems from classical tradition; the intense and bold color scheme stems from "Fauve" tradition and from expressionism, though a moderate one. The colored defining lines are especially characteristic for a part of his later works.