Leonid Mezheritski is a master of perfect brush movements and unique coloring techniques. He feels equally free in different genres, such as portraits, still life and landscapes, which take a special place in his creative work. Many landscapes created by him win one over with their poetry, and possess a quality that simply draws in one’s attention. They never disappoint when seen a second time, and carry the notable quality of a harmonious and spiritual connection between nature, painter and canvas. The artist often uses, at first glance, simple motives, but pursues the most difficult painting tasks. Exhibition booklet, 1990s

Mezheritski’s color experiments are of special interest, bringing the resonance of intense orange and yellow tones to the limit. Upon crossing this limit, the color composition becomes abstract. Such is “Still Life” with oranges and lemons on a white tablecloth and the especially memorable “Oranges” on colored drapes with a significant composition of bright orange fruit scattered on blue, green and light blue drapes and a brown plate. The audacious color solution builds mainly on the combination of additional colors – blue and orange, and leaves a great impression. Lena Belenkaya, art historian. 2009

For what I find most mesmerizing about this work is the tension Mezheritski consistently maintains between the realist representation of form to which he is explicitly committed, and the abstract celebration of painting, color, process and movement that his works repeatedly reveal. Mezheritski has lived in a variety of environments of widely differing light and atmosphere. His choice of subject matter as well as his handling of color range from the cool, silvery, muted tones of scattered winter light in Russia on the one hand, to the warm, intensely saturated tones of sun-drenched desert foliage in Israel on the other. But despite these variations in palette, the sheer movement of paint over the canvas – in stippled, short brushstrokes that suddenly configure as flowers or forest, as well as elongated single gestures that somehow transform into houses or beaches or seascape on the other – is a constant. Adrian Piper, doctor of philosophy, artist. 2007

Even just looking at such a dull item: twilight, a cape, a few rocks. Seems pretty much barren. Gray, gray, everything’s gray, but the piece has its charm. Particularly, the unity of tone and immersion into the darkness. I physically sense this immersion…everything is so heartfelt…divine, a string is vibrating; it finds its reflection in my soul, in yours, in all of nature. …I am looking at the other works by Mezheritski and I am thinking, “My God, it is so perfectly made; all this blooming symphony.” A tree. One tree. It seems so modest, nothing special. But upon closer inspection one can see this infinity of flowers and petals… And at the same time, it is so complete. And these views, which are wonderfully close in their tone and color to earth and distant spots of silver blue. Everything is in cold colors. The artist does not step outside said boundaries, but within their limits creates…a work of art. Vladimir Krishtopenko, art critic, artist. 1997

The landscapes are painted with a huge amount of love and emotion, especially those of Odessa. Odessa is not known for its famous streets and architecture. Mezheritski’s Odessa contains silver bushes of olives on the slopes of the Bolshoy Fontan, blooming acacias and chestnuts on quiet streets, picturesque Moldavanka and the Peresyp neighborhood, along with heavenly spots on the seashore. Tamara Litvinenko, artist. 2008

Each work presented here is a piece of art in the real deep sense of this word. The virtue of these works is also in their reflection of the painter’s ability to see beauty in things others do not notice. Yet this is done in an unpretentious manner… to express deep emotions and harmony of the state by means of real painting without superficial effects. Each of these paintings contains lots of precious aspects, which means every work is precious. The fact that such painters can be found among us is a joyous thought for us all. Dina Frumina, artist. 1997

His painting gains new features, the appearance of which is not only unexpected but wonderful, in view of the artist’s evident maturity in overcoming the traditionalism of his own painting system, which takes its roots from tone analysis. Now color and special dynamics are prevailing. … These changes, surely, are prompted to him by the nature of Israel – its epic “open” sunlit landscapes, emerald greenery and light-reflecting sands, which makes for an original presentation of this country with picturesque colors. But most importantly, the painter deeply feels the poetry of his ancestral home, a really delicate motive in painting. Tatyana Basanets, art critic. 2008

This is very precise, fair, and what is more, deeply lyrical painting. It plays on the thinnest strings… But one thing is obvious: It only became possible in the twentieth century, after Cezanne, after Matisse, yet including everything that came before them. And with an understanding of the eternal nature of art. …it is, in my opinion, a classic that remains part of the artistic movement forever, regardless of what happens to it. The works impress with their finesse… Yevgeni Golubovski, culture critic and writer. 1997