About Agrafiotis’ Days by the Sea

“…echoes of Turner’s oceanic romanticism and Rothko’s luminous abstract meditations.”

Baron Wormser, Poet Laureate Emeritus, Maine

About Agrafiotis’ River Light

“Handsome pictures descended from an extraordinarily fecund and capacious tradition, which they openly acknowledge and respect—another source of the pleasure they yield. I don’t ask them for cutting-edge effects. They’re clearly accomplished, put together by an artist fully in command of his skills, who knows what he’s doing and how to do it.”

CARL BELZ, Director Emeritus, Rose Art Museum

About Agrafiotis’ Iconic Trees

“This work is strong stuff, truly iconic. It’s as if you’ve burned your way through to some other form of light or apprehension.”

BARON WORMSER, Poet Laureate Emeritus, Maine

“Trees wrenched by feeling – but still celebratory vis-à-vis nature’s richness, fecundity, power and the acknowledgement that nature always bats last.”

CARL BELZ, Director Emeritus, Rose Art Museum

“These sultry, moody trees evoke an uncanny depth of feeling, while possessing an intense, almost fluorescent brightness. Typically I would say the two elements could not exist in a successful work of art, and now you have proven it possible. The dichotomy of dense surface work, coupled with an airy, magical openness is surprising and pleasing. I keep looking again and again at these images. Each time they strike me as being magical and impossible.”

ZOLA SOLAMENTE, Director, Arden Gallery, Boston

“Very heartfelt and dramatic, in a very good way. I love that quality when it’s authentic. Very rich, lots of care, lots of volume. These paintings seem more developed. They seem more important.”


“I can’t decide if these are paintings more about appreciating the splendors of nature or contemplating the last tree standing.”

PAULA STARK, painter

About Agrafiotis’ Wisteria Paintings

“…Taken as a group they’re rather shocking. The color seems to come right at you confrontationally. Though they’re variations on a theme, I don’t think there’s one theme, rather they suggest infinite variety and a complexity that isn’t meant to put the viewer at ease, ultimately. They seem to be animated versions of states of mind… glowing in a sad/mirthful/ambiguous luninosity.”

PEN/Malamud Award Winner
Excerpt from catalogue, 1992, Boston Exhibition
Read entire essay Wisteria Color and Light by author Ann Beattie

About Agrafiotis’ Interiors

“The light in Peter Agrafiotis’ paintings seems to come from another world. Ordinary household objects are transformed by it…become numinous presences, both real and supernatural. [These paintings] are also portraits an interior landscape in the psychological sense. They tell us something about the painter; and also about ourselves. But whatever their psychological overtones, the memories they evoke in us, or the words they convey, these pictures are also remarkable as constructions of color and shape … Agrafiotis’ paintings remain original and beautiful.”

Pulitzer Prize Winner for “Foreign Affairs”
Excerpt from catalogue, 1997, Boston Exhibition
Read entire essay Colored with Transfiguring Light by author Alison Lurie

“Agrafiotis’ paintings throttle the imagination. … the art seduces mercilessly, casting an aura that at first intimidates, then beckons, and ultimately bear-hugs. ‘…every detail seems to vibrate with meaning.’ Indeed, part of the allure of these paintings is psychological distortion.”

CHUCK KAPELKE, Boston Magazine

“…these paintings are filled with dancing light as it might be reflected off a sparkling expanse of water. Large in scale and richly colored, they create a trompe l’oeil effect that may remind you of Pompeiian wall painting. Vieweres should try to imagine each Agrafiotis work in its own settling: perhaps a white-on-white room in a palace overlooking the Adriatic Sea.”


“Peter Agrafiotis’ paintings glow, radiate, and occasionally even sing and dance in the light … his brushwork muscular. Agrafiotis paints like he is digging or sculpting, trying to unearth something of great spiritual concern and desire.”

BEN HARMON, Bay Windows

About the Abstracts of 2004-2006

“You get a whole new range of light and a corresponding range of feeling.They don’t read like nature, don’t remind me of landscape or anything in nature, but instead present themselves first of all as paintings… as though the color, the paint, had been allowed to spread and expand on its own, without moving it about or imposing will upon it, which in turn reminds me of Flaubert’s dictum: The artist in relation to his work should be like God in relation to his universe, everywhere present but nowhere visible. When one makes beautiful pictures – which these are – one doesn’t want the beholder to take the achievement as being a function of the artist’s taste but, instead, a function of the painting’s objectivity.”

CARL BELZ, Director Emeritus, Rose Art Museum, Brandeis University

“[Agrafiotis’ paintings] continue to be beautiful, stunning really. They seem to posses many mysterious secrets. Simultaneously they also appear to provide a type of x-ray vision to the viewer who takes his/her time with them. They offer informative interpretations on a whole host of subject matter. The color palette continues to be gorgeous and alluring.”

ZOLA SOLAMENTE, Director, Arden Gallery, Boston

About the first Abstracts

“Sumptuous. Lush. I haven’t seen painting this gorgeous in a long time. But I’m looking for work that’s a little bit ugly.”

IVAN KARP, O K Harris Works of Art

“There’s a texture to these pictures, a dripping lushness or sultriness,a jungle density that’s convincing.”

CARL BELZ, Director Emeritus. Rose Art Museum. Brandeis University Announcement comment for 1998 NYC Exhibition