Moshe Rosenthalis (Hebrew: משה רוזנטליס; November 18, 1922 – August 26, 2008) was a Lithuanian-Israeli painter and an art teacher.

After his immigration to Israel in 1958, where he lived and created for 50 years until his death, he implemented various art methods, including Abstract, Fauvism, Figurative, Expressionism and diverse media and bases.

[7] His teachers include Petras Kalpokas and Antanas Gudaitis; notable artists who studied there were Chaïm Soutine, Pinchus Kremegne and Jacques Lipchitz.

[9] His final project, "Release of Political Prisoners from the Kaunas Jail in 1940", was on display at the Moscow Art Academy.

[11] The official artistic style in the Soviet Union at that period was socialist realism, manifesting the natural and materialistic world without taking a stand.

When he drew women, children, and close friends, he took more liberty, and the viewer can notice the future evocative colors and pronounced brush strokes.

[19] In 1958, at 36, after living in Poland for seven months, Rosenthalis immigrated to Israel and settled with his family in a shack on the outskirts of Tel Aviv.

[20] Rosenthalis was fluent in Hebrew, which he learned at the Jewish School in Marijampolė, and made his living teaching elementary drawing.

[22] During his first years in Israel, Rosenthalis continued to paint realistic portraits and topics corresponding to the diaspora along with figurative and evocative subjects.

[23] Among the figures he painted were the poets Avraham Shlonsky; and the artists Chaim Gliksberg, Shimshon Holzman, and Moshe Ziffer.

During these years he participated in group and annual exhibitions in Independence Hall, Tel Aviv Museum, and the Israel Painters and Sculptors Association.

[27] In 1973, Rosenthalis stayed as an artist-in-residence at the Cité internationale des arts in Paris, where he experienced the French Modernism, which proved to be a pivotal point of his oeuvre.

While in Paris, he studied the works of great modern artists such as Braque, Delaunay, Dufy, Kandinsky, Matisse, and Picasso.

[28] The tension between cold and warm colors, and between line and form, and he contrived the concept of polarity–not in a realistic way, but as an abstract expression of inner ideas and feelings.

We can perceive the artists' love in each detail, the colors game, which is mischievous and sober simultaneously—made in a lyric affection of a very sensitive painter.".

[32] Adam Baruch wrote in Yedioth Ahronoth: "Even a viewer with the most pronounced contemporary inclinations will doff his hat to painting that is replete, well aware of the theatricality of the occupation, without becoming pathetic–and with the ability to cross or avoid such critical barriers as 'relevance' etc."

[38] Rosenthalis had been working in his atelier at Jaffa Port since 1964, his painting depicting the studio's exterior overlooking the Mediterranean Sea and interior, presented in his 2002 one-man exhibition at the Israeli National Maritime Museum in Haifa.

[40] He had a house in Safed, where he spent every summer, free from teaching and another undertaking, dedicated himself only to his art, painting the marketplace and its inhabitants.

[48] In 2009, the exhibition "Moshe Rosenthalis The Freedom of Color" was on display at the Town Hall, Vilnius and later moved to the M. K. Čiurlionis National Art Museum.

[52] Four large-scale artwork delineates selected chapters from the annals of the Jewish People, commissioned by businessman Shaul Eisenberg, installed on the walls of the boardroom at Asia House in Tel Aviv in 1980.