Her Jewish family, though from a traditionally observant background with ties to Hasidim, was rather urban and Polish, and her mother believed she had right to pursue advanced studies in art despite her gender.

There she met the painter and sculptor Ilya Schor; they lived in Paris and married there at the outbreak of the Second World War.

Process is what Goethe meant when he had Faust exclaim, gazing at the sign of the Macrocosm: Wie alles sich zum Ganzen webt, Eins in dem andern wirkt und lebt!

[...] Speaking of the Macrocosm, we are reminded, indeed, that the Ancients used to represent the earth as the back of an immense turtle, all things that live and grow sending down their roots into the great participating shell which bears them into the empty air.

In 1969, the musicians of the orchestra of the New York Philharmonic commissioned a mezuzah by Resia Schor as their farewell gift to Leonard Bernstein.