Nobel Laureate*

On Jesse Reichek

Reichek’s paintings and his drawings need to be seen in series, for they are variations upon certain themes. They do not, however, end at any point; they continue to expand beyond the canvas and the paper, suggesting unlimited combinations. And after looking long at them I begin to feel that Reichek does not intend to catch the universe in his net of lines but to indicate that the universe rests very briefly in our perceptions and that we must not think we can fix it for any considerable time.

But, though we can’t hope to detain it, we do have intuitions about it, and it is his intuitions that Reichek represents in his works. Here he shows us the bonds of matter, tangle and clarity, form on the borders of chaos, equilibrium which only just succeeds in maintaining itself. And now and then beauty, self-explanatory and self-justifying. There is a quiet but substantial sense of humor in these works, as if Reichek were aware of being one of God’s understudies, sometimes obliged to work in the clumsy, almost shapeless parts of the creation, but occasionally allowed a glimpse of perfections, for his industry.

                                                                                                                                                              *Saul Bellow
Nobel Prize for Literature 1976;  The Adventures of Augie March -  in 1954;  Herzog (1964) and Mr. Sammler's Planet (1970)  awarded the National Book Award for fiction;  Humboldt's Gift (1975)  awarded  the Pulitzer Prize;  awarded The International Literary Prize in 1965 for Herzog, becoming the first American to receive the prize;  January 1968 the Republic of France awarded him the Croix de Chevalier des Arts et Lettres, the highest literary distinction awarded by that nation to non-citizens;








Works from 1947 to 2005

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