Horowitz first discovered painting at the age of ten, when he found a paint box in his family’s basement. In his teens, Horowitz began studying painting with German Expressionist Maxim Bugzester. Aside from slapping the table with a yardstick when a student made a mistake, Bugzester (who was one of master Cubist Georges Braque's only three students and he later studied at the Bauhaus with Kathe Kollwitz) gave Horowitz a solid grounding in modernism, especially in his concepts of spatial overlap and the push—pull; theories that were a part of Hans Hoffman's aesthetic dictums.
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Later, as a student at the Art Students League in New York, he found himself with fabled social realist Isaac Soyer and then he hooked up with painterly realist Paul Resika the State University of New York in Purchase, New York in the mid-to-late 1970s. Horowitz next studio-apprenticed to landscapist Wolf Kahn in his New York studio for nearly seven years. Critics have compared Horowitz’ work to Kahn’s.
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“There is no way of escaping the comparison,” says Horowitz, “I spent almost seven years with him, and I have tremendous respect for the man. It couldn’t have helped but rub off.”
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When Horowitz left Kahn’s tutelage, he was quite adept at painting landscapes. Also, he was making pastels for his own use as well as for the use of a small, if select, clientele that included Willem & Elaine De Kooning, Michael Steiner, Frank Stella, Jennifer Bartlett and Wolf Kahn.
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Horowitz has had one man shows at noted galleries across the country, from Beverly Hills to New York City. He has traveled thousand of miles from coast to coast to paint the American landscape. The oil paintings and pastels that have resulted are a true celebration of the American scene. As the world has become more complicated with so many events that change our lives at an ever more quickened rate, Horowitz's paintings provide us with precious moments to stand back, reflect and enjoy the many miracles of our environment.
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Horowitz says that when he was studying art in college, his professors told him that landscape painting was dead, a dead genre. “Now some of those same people are painting landscapes. Art constantly reinvents itself, and its changes find expression in the images that permeate and shape our culture. This offers contemporary painters like me a vast store of artistic sources on which to draw. I can borrow from Rembrandt for my sepia paintings or from de Kooning for the way I ply two-dimensional surfaces with a palette knife.”
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Horowitz enjoys traveling and stresses the importance of keeping his mind open to cultural differences. Feeling that an artist can never know enough, he studies everything — such as architecture, geography, history, horticulture, geology and even weather. Painting a seascape might require that the artist know about boat building, so he can paint boats, about meteorology, so he can paint rocks at the water’s edge. “Through my travels I continue my explorations by painting the unexpected and the "unexperienced".”
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“I can give pleasure with my work,” he states, “and that gives me pleasure. Just about the most important thing in my life is to give pleasure to other people.”
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“The other thing I’m after,” he adds, “is inner truth. Art is about what you don’t know. We’re all searching for the truth. We’re all searching for what we don’t know.”

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