"I consider Clara Klinghoffer an artist of great talent, a painter of the first order…Her understanding of form places her in the very first rank of draughtsmen in the world."
– Sir Jacob Epstein, London

"Clara Klinghoffer’s drawings are comparable to the great Italian Masters."
– Mary Chamot: “Modern Painters in England”

"When (Clara Klinghoffer) was less than twenty she was already recognized by the dealers and by the artists who count as an important character in the world of art. One critic said of her that she was ‘full of the beautiful spirit of Raphael,’ while another wrote that she was under the influence of Leonardo, whose style, he said, she adapted to suit her personality."

"Be that as it may, the fact is that, in her teens, without money or influence, and living in the non-fashionable end of London, she has made her mark in the center of the most difficult city in the world…I am convinced she can become, by the time she is forty, a really great master, creating priceless art treasures.”
– Amelia DeFries, November, 1923

Exhibition at the Royal Academy: "Augustus John remains faithful and his Serving Maid is one of the few pictures in the whole show that one carries away in one’s head. Almost like John’s work in its bravado is Clara Klinghoffer’s Giuseppina, which also has Miss Klinghoffer’s own peculiar sensitiveness. Its vitality is not secured by any sacrifice of delicacy and its rhythmic unity is untouched by anything else at the exhibition"
–The Natal Witness, 1935

"Though she has her pictures in the Tate Gallery and the British Museum, Clara Klinghoffer has never had a lesson in painting. At her first exhibition, arranged in 1919 by admirers Jacob Eptsein and Richard Sickert, she was hailed as one of the greatest modern English women painters, but refused bursaries which would have enabled her to study at the Slade."
– News Review, 14 April, 1938

"Clara Klinghoffer’s three paintings, which include a study of a head – Leah – as exquisite in colour as it is masterly in its drawing and modeling, are in a class by themselves. Beside the ripe achievement of this highly gifted painter, the remaining exhibits appear the work of novices."
– Sunday Times, London

"As an expression of personality in paint the portrait of Lucien Pissaro is one of the most successful paintings we have ever seen. It positively simmers with the temperamental qualities of a veteran artist."
– The Times, London

"Clara Klinghoffer - England’s best-known woman artist seen here for the first time. Rare indeed is such mastery of line as shown in her drawings, such subtlety and warmth of paint as in her canvases of women, men, children and types. It is definitely our gain if we can claim her as our own."
– 460 Park Avenue Gallery at 57th Street. (CUE SAYS GO). January 4, 1941

"Something of the charm of the great eighteenth-century French artists, modernized and with more of a broad human basis, is to be found in such works as the sketchy head of a man, or the study of a sick child…This is admirable stuff."
– The New York Times

"One can go through a year of exhibitions and not encounter this sort of draughtsmanship."
–Emily Genauer, New York

"Clara Klinghoffer is one of the greatest talents sent us by the war. This artist has a fascinating grasp of the essentials. Her portraits have a soft focus, but what inner life! Clara Klinghoffer’s Sergei Radamsky is Rembrandtesque in feeling and spiritual quality. Highly sensitive, it is one of the best portraits we have seen in a dog’s age."
– The Art News, January 11, 1941.

"Clara Klinghoffer has a precious gift; the power of transmuting the facts of experience into the gold of expression."
– J.B. Manson, curator of the Tate Gallery, writing in The Studio.