What say critics about Benet Sarsanedas works?

His brush moves so quickly you get the impression at times that the canvas itself becomes the palette, suggesting corrections and density, it deepens the cromatism and the final result gives off attraction and warmth.

M. Castellanos. Van Dyck 1986

Light is a defining element, achieved by suggestive oppositions of colour zones. He distributes the paint with materic values, organizing the composition and the theme through colour, not line.

M. L. La Vanguardia, December 15th, 1987

Benet Sarsanedas is concerned about "penetrating the invisible", about deepening inside the landscape in order to discover its intimate profound gestures. That is why we can include him in the "expressionists" group, because his works are full of character and meaning. His palette adapts to the secret, learned side of things and that brings to his paintings themes that have something of an intrahistoric atmosphere: old towns, luxuriant woods, ample austere spaces...

R. Manzano. Van Dyck room, exhibition's catalogue. Gijón, 1987

Benet Sarsanedas has interpreted the landscape with an astonishing variety of resources. In some of the paintings, the artist has used a refined romanticism that often reinforces the landscape's elegance. In others, there is a prominence of red and maroon tones, the ardent warmth of the midday concentrated in each brushstroke. The line is tortured and occasionally crosses the canvas in all directions: the rich garden that is the village of Rupit under a smiley sky becomes an unaccessible jungle through big pastes of paint. In all the paintings there remains, however, the austerity of the composition and the unstrident personality of the author himself.

J. Zamora. Van Dyck room, exhibition's catalogue. Gijón, 1989

Sarsanedas confronts the theme's austerity -there is an absolute absence of anecdote- with a style in which the line-colour binomial sorts out and enriches the global and essential conception of the painting.

M.E. Morató. Exhibition calatogue 1989

In the intense expresiveness of Benet Sarsanedas' work lies the drawing's complexity, the dark cromatism that gives its painting a strong dramatic dimension and a moderated luminic oscillation which comes across to us determined by the landscape theme and at the same time by the subjective mood in the eye of the artist.

R. Kyoga Berliner. Van Dyck room, exhibition's catalogue. Gijón, 1992

Sarsanedas considers that he has to work in all possible techniques: oil, pencil, charcoal, watercolour, gouache, lithography and sometimes acrylic. All of his works keep an expressive unity of feelings and awe towards nature, present in lines and chromatic masses that are united and crossed but at the same time kept apart by the painter's basic weapons, the brush and the spatula.

M. Martí Ayxela. Lambart Room, exhibition’s catalogue. Barcelona, 1992

Benet Sarsanedas seems on every given occasion to push the boundaries of figurative art. His paintings were always of an attractive making, with pleasure in stains and thick paste, a fauve not only due to the colour of joyful blaze, contrasting but subject to pleasant harmonies, but also due to the expressionist intensity of the stroke.

Now those purely plastic elements, from being the sustainers of landscape go on to being the landscape, protagonists of a painting more attentive to qualities, luminosities and allegories of colour than to figurative references, at times nearly lost or hardly noticed in the distance. His landscapes don't lose substance or realism (when understood) because of this, but gain on pictorial richness and emotion.

Rubén Suarez. La Nueva España. 1992

One of his brushstrokes can become either a summary of what we see, through a measured abstraction, or an amplification of frankly suggestive details and meanings. The work's quality is indisputable and deserves our praise.

L. Ferrés Planella. Exhibition catalogue 1995

Colour and the thematic layout of the subject converts Sarsanedas' work into an expressionist explosion which is strengthened by the artist's engagement to look for something somewhat different. This nonconformist attitude is rife throughout his work and his entire artistic outlook, and for this reason the artistic concept that Sarsanedas tries to conceive doesn't adapt itself to pre-established boundaries but rather flows from his own creativity.

L. Ferrés Planella. Exhibition catalogue 1997

Benet Sarsanedas, away from the constrictions which reality imposes, gives free reign to a joyful creativity, often violent and expressive, which puts emphasis on the gesture of the sketch, the long brush-strokes, the play of light which springs up everywhere, and on a specific range of colour, speckled here and there with some brush-strokes of great contrast and a richness of veiled images which flourish under the pigment and the complexity of the drawing.

Arts section. El Punto, 1999

It is both difficult and beautiful for a painter to be certain that his vision of a landscape, of an object or of a figure, deformed on purpose in order to show them surrounded by a creative fantasy, reaches the public as a clean, serene, sincere and suggestive image. And all this and much more is achieved by Benet Sarsanedas in his expressive, eloquent and intelligible work. That deliberate metamorphosis of the world he contemplates is one of the charms (perhaps the greatest) of his exceptional creativity.

Arts section. Correo del Arte, 2001

Benet Sarsanedas is an "open air", naturalist kind of painter. Or, to be clear, a painter that is most comfortable sticking his canvas in the middle of the landscape with the intention of painting the landscape inside the landscape. Another aspect we should mention is that this is a creator of a quick, expressionist, baroque style, who is just as much at ease using pencil as charcoal, brush, spatula or his own free-hand. It is useful to keep in mind two omnipresent landmarks of his work before we get into it: this is a natural born colourist, who is physically taken aback by colour, and at the same time, a texturalist, who is awed by textures, big masses of paint and all of this means that, if he had chosen abstraction or informalism, his work's worth would surpass mere formal representation.

A. Martínez Cerezo. Adriana room. Exhibition’s catalogue, 2001

In this exhibition, in its oil paintings as much as in the drawings, there is passion to show its own light, the creative force of the light.

J. M. Cadena. El Periódico, September 19th, 2003.

Benet Sarsanedas knows that landscapes are never ecstatic, but they render a feverish activity that needs to be understood to choose which ones are in sync with our own personality in each moment. On top of describing formal realities, he helps to bring emotions to life over the oil's canvases or the watercolours papers.

J. M. Cadena. El Quatre 4 Gallery. Exhibition’s catalogue. Granollers, 2004