Dr. Sieglinde Platz, Weimar, to the topic "Blues"

"[...] internal collection, clamour, exemption - everything expressed in one. In this manner originated works of impressive artistic ripeness which one doesn´t receive by passing, but they require the repeated dialogue and which still leave dismay afterwards."

Dr. Maren Kroneck, Saalfeld, at the vernissage of the exhibition "Dialogue"

"[...] He had tried during GDR times to quit with national dependence by "painting himself free! and has followed the stony way of being lone wolf. He was encouraged and also marked by his mentor and fatherly friend, the artist Werner Schuber- Deister from Friedrichroda, whom Weber calls his 'moral authority'. [...] For his critical works there were already in the 80s (illegal) collectors from the western part of Germany [...] [...] Gert Weber's credo is: 'I do not paint to like. I do believe in the strength and power of the pictures which do not need, in the finally words; where the word not outreaches - just deeper and continuously, abruptly gets under skin.' [...]"

Reviews in the feuilletons

South Thuringian newspaper, 25/07/2003, Michael Truppner: "Against the ignorance of the world"

"Weber follows existential questions in his pictures .With virtually manic zeal he deals with the "human head" over and over again. Besides, every face becomes a unique spiritual landscape alike scenery, in which his paintbrush trenches deep notches. In woodcut-like rough painting manner he scetches urgent psychological profiles. His creatures are always thrown back on themselves, lonesome and isolated. Accumulation of people is rare in his art. This distinguishes him from Werner Tuebke, his former masterin art. In his Peasants' War panorama in Bad Frankenhausen Weber has copainted for two years after his study. The predilection for physically and emotionally maltreated humans, who congeal mostly in weird postres, connects him with Tübke. [...]
Weber's pictures touch deeply and with longlasting effects. Nothing seems conciliatory in them. Rather his creatures suggest themselves in all their dumb disruption upon the viewer formally, to rebel against the noisy ignorance of the world."

Newspaper "Free Word", 19/04/2003, Carola Scherzer: "Musicians and painters fascinated"

"With lively lines Gert Weber began his art work to still rather harmonious sounds. The heads of two opposite human groups became more and more recognizable. To mostly sloping and shrillest saxophone sounds he later put nearly destructive, wild, expressive lines on the canvas. Apparently absolutely untidily, all over in a mess, however, in the tangle of lines and earthy colours the contours of both human groups came outt more and more vividly and in the middle of the picture a face of a recumbent suddenly appeared. After one hour the work was accomplished: The last sound faded away, applied the last brushstrokes, silence covered covered the whole room, then applause when the artists stepped infront of the painting and bowed, Standingovations followed. A deeply touching moment for each of us."

Rheinpost, 24/03/2000, Helga Bittner: "A Dark ache vibrates"

"The human head he counts his whole interest. Not to the effigy faithful to detail of a face or the anatomical specific peculiarities of its form, but the head as an expression of internal sensitivities. The images of man of the painter Gert Weber born in 1951 in Thuringia mostly have something destructive. A shout doesn’t only flow out of the mouth, but grasps the whole face, it distorts to a grimace in which eyes, nose or mouth only have an presentiment: one can see only the ache which lies down like a dark cloud on oil painting. [...]

In Weber's pictures doesn’t show only a lot of sensuousness, but also sensitivity. They are the coloured testimonies of one, who departs over and over again to discover the world and its people."

Newspaper oft the Thurigian State (Thueringische Landeszeitung), 30/08/1996, Kurt Hahn: "Relentless view of an unadjusted":

"[...] Those and other works in the sacred area testify of the fact that Weber didn't have many opportunities of the work during GDR times as a result of his nonconformist position. In the shade of this activity a picturesque oeuvre which meanwhile has a substantial extent grew up. In the pictures done before the political change, touching and aching points with repressive phenomena in the real-socialist system have found an expression. And those in subjects and by means of the metaphors which are logical and persuasive: hopelessly entangled people (dominoes), in fancy dresss and behind masks to itself escaping(clowns), in cages of helplessly fluttering birds..."

SWF3 Mainz, S3 culture on 03/08/1991, editor Theo Schneider about the picture "old men":

"[...] We see seven elderly men, partly concentric placed, partly cut and on the following board resumed. They are all different, but seem to be the same as well. Seven prototypes of the type haggard rulers. The same suits, the same white shirt, the same ties. There they are, bent and bitter, and do not understand that suddenly is wrong what used to be correct. [...] Different the faces on the one hand, but s much the same on the other. Perfidiously, on occasion to a revenge lurking the first. The second contritely or rather contrition playing, itself affably stupidly putting a third one. Next with gastritischer funeral expression and again watching for coldly. So here they are, those awful lawyers and camp master builders, the human governors and state terrorists. And if they have pretended remorse long enough and persuasive enough conversion, they maybe get back to office and dignity again, which teaches at least the German history. However, they are at least debunked in this picture and in this art in their speciousness and falsely poses. [...]"