Jacob Wexler (German: Wechsler; Hebrew: יעקב וכסלר‎; 15 November 1912 – 21 March 1995) was an Israeli artist and art teacher.

In 1923, the family relocated to Germany, and Tuvia Wexler enrolled in the Faculty of Mathematics at the University of Hamburg.

While waiting for a permit to immigrate to Palestine, Wexler drew a large series of erotic illustrations for texts by the French Renaissance poet François Villon and the German playwright Bertolt Brecht.

His first exhibition was at the HeHalutz clubhouse in Hamburg in July 1935, from which only a few prints survived, most of which depict figures of musicians, acrobats, and clowns.

Wexler was asked to create engagé art, but found it difficult to cooperate with the demands of the movement.

In Haifa, Wexler befriended painters Zvi Meirowitch, Menachem Shemi, and Avraham Naton, and participated in several group exhibitions.

In the exhibition catalogue, museum director Dr. Haim Gamzu wrote: "Wexler is a gifted artist.

His glowing colors suggest a mosaic, where small pieces of stone set in one general frame form, in their right combination, a foundation for a single whole.

These works present a rich range of colors and a collection of splendid sketches for pictures in which the painter merges his artistic vision with a maturity of execution, and curbs his tempestuous temperament by the reconciliation of form and subject.

The gradual shift from figurative painting to abstract, as reflected in the exhibitions mounted by members of the group throughout this period, is also evident in Wexler's work.

'"[6] In 1955, Wexler traveled to Paris, where he participated in the Salon d’Automne with a solo exhibition at Galerie Lara Vinci.

In Wexler's paintings, which are all monochromatic black and white, the material fulfills both a textural and a color function.

"[7] In 1966, Wexler began incorporating geometric elements into the free structure, which gradually became more restrained and rationalistic.

From his familiarity and identification with Op Art style, he began using anaglyphs in his paintings – geometric structures that become three-dimensional and dynamic when viewed through red-green glasses.

In these works, Wexler has achieved a concentrated essence, constructive building that possesses immense imagination and colorfulness.

[…] [The] artist subjugates those abstract 'spatial' constructions to new graphic combinations that depict urban landscapes: intersecting structures of bridges, streaking highway junctions.

In September 1984, Wexler created a series of serigraphs, to which he added an introductory text: “I have been painting these pages recently.

Many of them incorporated subjects marking the years he spent in Germany – clowns, acrobats, magicians, and prostitutes, alongside quotes from The Threepenny Opera.

[…] Wexler’s circus is Brechtian […] an admixture of the lightness of sketches and the aggressiveness of splashes of color, skipping between a figurative language and treatment of the canvas, which is absolutely contemporary in its abstract perception.

"[11] Wexler is known as a painter who employed multiple styles that gradually developed during his persistent and methodical engagement with articulating values of form.

At the same time, he also created an iconographic dictionary with autobiographical elements incorporated into it, and which repeatedly emerge in each of his stylistic periods.

As an educator, Wexler positioned logic, rationality, and common sense as the basis for intuition and gut feeling.

"The aspiration of an art teacher is to 'attack' two loci in the personality of the student, of the future artist – intellect and emotion.