There were some more direct influences of expressionism stamped as a formula on portraits and figure compositions, but also some imaginative canvases reminiscent of the fairy tale and romantic subjects.

Having spent several months in Geneva in 1923, drawn to the art of the Hodler and his acquaintance with Paul Klee,[3] on 1 January 1924, Georges Papazoff was already in Paris.

Papazoff claimed to be among the first to engage in surreal imagery, yet he got credit for this from only a few: "But finally I learned that when I refuse to accept the rules of the surrealists, I condemn myself.

The 1927 Anthology of French Painting by Maurice Raynal classifies Georges Papazoff's work from as surreal imagery and gives him a place, linking it to the German tradition, as well as to Klee and Miró.

In Antologie plastique du surréalisme, Jacques Baron gives Papazoff a significant place, calling him a free spirit who wasn't affiliated with any groups.

[7] Baron draws reader's attention to Papazoff's relationships with Tristan Tzara, Robert Desnos, Paul Éluard and Max Ernst.

In his 1975 Encyclopaedia of Surrealism, René Passeron[8] mentions that upon his arrival in Paris, Papazoff recognized the surrealists with whom he exhibited as his own ilk, but his independent character stood in the way of his integration into the group.

Jean-Pierre Delarge identifies Papazoff as a surrealist, a cubist, a fauvist, a follower of Klee, applying frottage like Ernst, painting figures on a pure background like Léger, and having Slavic reminiscences like Chagall.

[9] Andréi Nakov draws attention to both the sources of Papazoff's inspiration - German expressionism and Klee, and his relationship with the French surrealists and Miró.

"[12] The Bulgarians authors who studied Papazoff, like Krastev and Nakov, being also familiar with the local folk tradition, have mentioned that the latter is where some of the artist's inspirations have come from.

It can also be seen in The Bulgarian Strength, 1928, an abstract composition exhibiting a stylized hand in its centre holding the already familiar floodlight cone.

Over the years, Papazoff developed his own pool of trademark elements that he frequently resorted to, e.g. stylized dogs, fish, cones, stairs, etc.

The constant presence of the sea, as a symbol of freedom and mystery, also marks the artist's interest in the unexplored territories of living and consciousness.

Referring to the involvement of  Papazoff, Ruth Bohan wrote: “Surrealism made its American debut in the Brooklyn exhibition.

The biographical note about Papazoff was written by Dreier: “Born in Bulgaria among the mountain peasants, whose life he expresses with rare enchantment.

On 11 October 1941, the private collection of Katherine Dreier was donated to the Yale University Art Gallery which also includes 6 of Papazov's works.

https://artgallery.yale.edu/collection?query=Georges+Papazoff Henri-Pierre Roche, French writer and close friend to some of the most significant figures in the arts during the XX century.

Two of these paintings, Personages magiques, 1933 and Impression d’une cathédrale, 1933, were purchased by the National Museum in 1953 from George Papazoff's solo exhibition in Stockholm.

The result of the initiative and efforts of Oscar Ghez and the Petit Palais Museum was the publication of the monograph with text by Gaston Diehl in 1995.

From 17 December 1934, to 4 January 1935, Papazoff held a solo exhibition at the Modern Gallery in Zagreb, It featured 57 works created in the period 1929–1934.

A catalogue with a list of works, two reproductions, and a foreword by Ivo Šrepl was published, qualifying Papazoff as one of the most important and well-known European artists: “By organizing Georgi Papazoff’s exhibition in Zagreb, the Croatian Art Society makes available to the public one of the brightest representatives of the generation of idealist painters in Western Europe who, after fauvism, has blazed entirely new paths for artists.

Two large ones opened in Sofia in 1982 and 1988; the former showed Papazoff's works from private collections, while the latter borrowed 76 paintings and 6 drawings from the Petit Palais Museum in Geneva.

The study places the artist in the context of the most current trends in art world of the first half of the 20th century and traces his active participation in them, as well as the role he played in their confirmation.