Cook writes that Chaet's "impasto buildup of paint recalls the cement-like clouds of Marsden Hartley’s raw, roughhewn late style, which he pioneered during summers at Gloucester in the 1930s. Chaet also seems to be channeling the vivid meaty textures of Boston Expressionist Hyman Bloom’s corpse paintings of the 1940s—work which influenced him when he was a young student in Boston. But Chaet’s colors are now filled with emotion, and effervescent."
Higginbotham writes: "Known best for his landscape paintings, the subject matter of Chaet's work challenges and celebrates the representational power of paint. A gushy slab of burnt sienna is a cloud on the sea’s horizon. Oblong slathers of cadmium orange are rocks on a shore... For over 60 years Chaet has pushed the traditional logic of representational painting... Some of his recently completed paintings were begun in the 90's, so conventional wisdom such as 'don’t overwork it' have little clout with Chaet."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.