–Katie White, Artnet News, 2021
Art Review: Fay Lansner Weaves Beauty from Charm of Color and Confident Line
–Charles A. Riley II, Hamptons Art Hub, 2018
“Fay Lansner, back from a stay in Paris, shows psychologically arresting oils and drawings that are brilliant and attractive…Flowers and portraits, swift pastel that has a juiciness of crayon: they are scherzo of a delectable, highly serious kind.”
–James Schuyler, Art News, 1950
“In vivid pastels, Miss Lansner renders portraits in bold, zipping strokes.”
–Dore Ashton, The New York Times, 1954
“She has sailed through Tyler School Realism, Art Students League Cubism and Hofmann Expressionism, and has now discovered herself. The influences are there, but her work, all of it, is hers. Eyes locked near the nose nail you with a freezing look; lips are curled quizzically; color arrives on a cheek like sticking plaster; raggedly painted heads vibrate like French revolutionaries.”
–Lawrence Campbell, Art News, 1955
“When she uses color in her drawings, Miss Lansner does so with savagery….She partially obliterates her works by having at them with an eraser, and this certainly increases their already disturbing impact.”
–Vivian Raynor, Arts, 1961
“…Lansner never succumbs to …formulas; She is a highly individual artist….she also integrates the complex elements with finesse so that her pictures appear bold and monumental.”
–Irving Sandler, The New York Post, 1963
“Fay Lansner, a well-known New York painter, is one of many young artists of her generation who are trying desperately to say something significant, provocative and meaningful about life today while at the same time cutting a line between old-fashioned realism and contemporary abstract expressionism.”
–Doris Reno, The Miami Herald, 1960s
“Vivid figure drawings in pastel reinterpret classic situations in art. Boldly set free from fixed ideas, they treat the linear message with maximum originality, assigning functions of vibrancy, tonal statement, and subject definition to the thin, loose stroke.”
– Phyllis Braff, WAN, 1980
“…Lansner is a difficult artist….She is not difficult for the sake of being difficult, she is difficultbecause she is deeply in earnest about about observing the two dimensional nature of her canvas.”
–Gerrit Henry, Art in America, 1981
“Lansner’s spirit of experiment and search is evident in these twenty-odd works. While a complex of geometric forms is the subject matter throughout, the approach varies from classic and pure to almost expressionistic, with apparent transparencies of color. One can perceive the straddling between the pure abstract and the subjective which was apparent in the New York School, then at its inception.”
–Palmer Poroner
“The drawings are on an heroic scale, summer vases holding cut flowers…are rendered in a deceptive ease of line, a directness that is as precise as it is simple.”
–Rose Slivka, East Hampton Star, 1986
“Lansner has always been a reactive artist, moving from one opposition to another, contradicting and reassessing past priorities and techniques. She frequently scrutinizes, questions, reassembles, and works out a new system. Taken as a whole, there is an accretion and synthesis from this way of working.”
–Alexandra De Lallier, “Fay Lansner: Woman as Metaphor”, Woman’s Art Journal, 1986
“Ms. Lansner’s drawing is fluid, loose, masterly….a long curving line here, a splash there, a sudden gulf of white, a block of heavy shadow.”
–Robert Long, The Southampton Press, 1993
“[Fay Lansner’s] new series called The River Bathers is the masterpiece culminating her long development as a painter of the figure. Her drawing with the painting shows a mastery of line and draftsmanship. The figure is drawn as if for the first time, with fresh energy and quiet authority, yet without a false move, demonstrating how a lifetime of devotion to the subject finally frees – meets up, that is, with original knowledge.”
–Rose Slivka, East Hampton Star, 1993
“Fay Lansner is a too often neglected artist because of her insistence, early and late, on the body, on principles of embodiment, with no sacrifice of abstract persistence.”
–David Shapiro, Art in America, page 3, October, 1980