"I discovered Gabritschevsky in 1959 in the Art Brut collections. A masterly work, since its author was interned for thirty years, and yet that of an artist who does not owe to his alienation the qualities he reveals. In the four thousand gouaches that he left, he joins the work of Klee, whose pathological counterpart he is in a way.
His representation oscillates between a meticulously rendered reality (flowers, birds, fish), ornamented surfaces that could be described as abstract, and a third, purely imaginary direction (hallucinated faces, compact crowds, landscapes and fantastic scenes). This diverse repertoire plunges the spectator into the center of delirium, the transcription and exchange of which are the difficulty and the salt of the painting. In spite of the speed of the execution and the poverty of the means, the poetry is everywhere thanks to the plurality of the intentions which renew indefinitely the topics."
Daniel Cordier « 8 ans d’agitation », 1964