"New York, Brooklyn, 1962: They move lightly like dancers, these youths whom Arthur Leipzig captured on film. Their movements really do seem to follow some sort of secret choreography. They take hold of each other in pairs, like dancers, and the others respond, their movements in perfect accord. The backdrop for their performance is a dilapidated house wall, their stage a street in Brooklyn. The photograph is clearly the result of the fortuitous discovery of an existing situation, but it was the sure intuition of the photographer that enabled him to pick out of the series of movements the precise moment in which the game became condensed into a harmonious composition."

Ringelevio, 1962

"Leipzig traveled the world and returned with expressive photos of high aesthetic quality, photos that in content and form document the aesthetic demands he made of photography"

"Fascinating although the aspect of technical achievement may have been, Leipzig's real interest lay primarily in the "human aspect of photography." His principal theme was America's everyday culture. He encountered his subjects eye to eye, as an equal, with his own particular brand of emotional responsibility and respect; he observed his subjects' activities with quiet humor and understanding. With his photograph of a window washer on the glass façade of the Empire State Building, a dizzying hundred stories up above the roofs of Manhattan, Leipzig succeeded in taking a photograph that links these two aspects in an unusual portrayal of urban dynamism and sensitivity for the dangers the worker faced."

"Arthur Leipzig captured a moment of playful togetherness, which shows movement in its most attractive form and which henceforth became the design principle behind his work. 'As a photographer interested in the human condition, I have learned to anticipate the moment that i most telling. Sometimes it is just a gesture, sometimes a fleeting expression and sometimes a composition that appears suddenly in my finder. The photographer must be open to that serendipitous moment.' With a sure sense for the right moment he also captured in the apparently chance play situation in Dodge Ball (1950) the very moment in which all elements in the picture are fused for a fraction of a second into a complex structure. Using a high camera angle a narrow detail for the shot, the moment becomes a picture of immense formal beauty. Elongated shadows duplicate the gestures and movement sequences and transfer the movements of a simple ballgame in to the choreography of a ballet."

Sylvia Böhmer - Arthur Leipzig: Next Stop New York

"The book's images were selected from more than four decade's of Leipzig's assignments for magazines such as Fortune, Look, Parade and The New York Times Magazine. The subjects range widely - from underground coal miners in Virginia to a community of Ethiopian Jews to winter fishing in the North Atlantic, to name a few. But it is Leipzig's photographs of children that tell us the most about him as a caring, compassionate photographer. Whether photographing children at play (he began his first self-assignment and photo essay, Children's Street Games, in 1943 and continued working on it through the 1960s), children in hospital or children found in a variety of situations around the world, Leipzig caught their moments of joy, sadness and contemplations eloquently through his camera lens."

- ASMP Magazine

"I am going out on a limb here and say that he photographed the children of New York better than any other photographer, Helen Levitt included... It's not just that the pictures are extraordinarily composed; it is the sense of powerful freedom and great respect they captured."

- David Schonauer, American Photo Magazine, May 2007

"We can't see how far they are jumping, but we have the sense that it is from a very high distance. The boys leap with abandon, one following the other in perfect order, captured in mid air. Their lovely, boyish bodies are gazelles in flight, but their swimsuits and haircuts, plus the date on the photograph, tell us it's 1948, just after World War II. They appear to be teenagers, too young to have been soldiers. Maybe their fathers have just returned from overseas, or maybe some of their fathers have not returned at all. There are corner candy stores, the overhead El, and neighborhoods where everybody is Black, Italian, Irish, or Jewish. It's a different time, and Leipzig has preserved a consummate moment of boys before they became men, when they were free to spend a sweltering afternoon diving in the river. Do boys still swim in the East River? Given what we now know is in it, I hope not."

- Photo Metro, Feb 2000

"Leipzig was initiated into the field through the humanistic instruction of the Photo League, and his pictures are far less about material conditions than about the architecture of human relations. He focuses frequently on urban children at play, turning a stretch of pavement into a chalk-lined carnival or a mailbox into a comfy perch. Their resourcefulness reads as a profound lesson in the value of spontaneity, energy, openness. Leipzig's work is street photography of the highest order, a torrent caught midstream, an urban ballet played out one frame at a time."

- Los Angeles Times, July 10, 1998

"Leipzig captured images that show a New York with a gentle soul. Surely, he witnessed his share of depressing scenes - ugly labor riots and people living in coldwater flats - but this book focuses mainly on the strength of humanity."

- The Sunday Star-Ledger, January 28, 1996

"Leipzig's art appears to be so limpid and direct that it can only be the result of exquisite preparation...Many of the photographs in this book were taken on assignment for magazines and newspapers; others, says Leipzig, such as the wonderful and justly famous Sleeping Child, "...suddenly presented themselves, demanding to be captured." A beautiful book, unpretentious and haunting."

- The Art Book, Dec. 1996 (London Review)

"Some of his most memorable photographs are of faces at close quarters. The young girl at a window running with rain is a marvelous insight into the subject. The face has a hauntingly pensive look. While the facial features are highlighted along with the girl's torso, the hair is suggestively obscured, and the mystery suffusing the photograph is enhanced by lurking background shadow. This photo may not be a particularized documentation, but it leaves a compelling impression, at once peaceful and disruptive."
"Mr. Leipzig can be funny as well as serious, as in an amusing photograph of a formally attired man on a seesaw at Jones Beach. Some of his landscape studies, such as of Boulder Creek, revealing his interest in the drama of abstract shapes, are quieting like tone poems."

- New York Times

"For years he was a photojournalist, always with a focus on people, which is why the university prize notes that his "creative photography reflects both a special competence and sensitivity. His sustained contributions to his discipline have maintained the integrity of his humanistic concerns. Mr. Leipzig's work is energizing, ongoing, and compassionate."

- Newsday

"Compared with many of the other photographers of the 40s and 50s who were shooting on the streets in New York City, Arthur Leipzig is unequaled in the way he tracked down fleeting, candid gestures and redefined them as pictorial archetypes. But like his contemporary (and fellow New Yorker) Helen Levitt, he can't really be considered a news photographer in any traditional sense."
"With his attentive eye for the composition, framing, and the poetry of his images, Leipzig never possessed the true photojournalist's hunger for the front page easy winner."

- Zoom

"Much of Leipzig's success comes from the way he often blends engaging personality captured off-guard, a story worth remembering and a dynamic composition. There is tremendous energy in 'V.E. Day, Times Square, 1945,' but there is an equal amount of intensity in the tightly knit pile of student faces in 'Hebrew Class, Benker, Ethiopia, 1979.'"

- New York Times

"Mr Leipzig has specialized in pictures of people---from the New York subway to an Ethiopian classroom and a Honduran jungle. Renowned for his photo-essays on urban life, the performing arts, Jewish communities around the world and other social themes, Mr. Leipzig is also a master of landscape photography. Although less familiar than his black and white journalistic and documentary work, his scenic views of Niagara Falls, Glacier Bay and Death Valley demonstrate a sensitive nuanced handling of color and a gift for formalistic composition."

- New York Times