No outline intervenes in the
direct dialogue of the brush and the canvas on which he lays rich,
abundant colour, dense and expressive, creating a setting for the
interplay of satire and tragedy. Pourquoi Pas Brussels 1980
Marvellous paintings, these –
full of bravura, action and wild colour.
Brian Wallworth, Arts Review, March 1977
Where other expressionists end, Frenkiel
begins… forms that had degenerated are now regenerated. And
the tool for this redemption is the most material of all means:
colour…. Frenkiel’s painting comes full circle: his
canvases become at the same time terrifying and purifying.
Pierre Rouve, Arts Review, 15th December 1973