"It seems fate that with Pinto it ends up talking more about his life than his work, almost as if he had conceived life as art; but anyway: his life presents so much the stigmata not of eccentricity, which always risks to be kitsch, but of exceptional, that rather leans towards the simple and the incredible, like the actions of Buster Keaton in many scenes of his films.
Here, even the painting of Bruno could be said that it is exceptional and that it tends to extraordinarily simple forms […] reality found and relived in concrete terms of general experience. The relationship with the current culture and with every previous figurative tendency is constantly mediated by the needs of life, proposed every day as a creative fact and implying every day fundamental choices […]. No project in these works is a binding a priori, […].
Pinto is a painter of necessity, for a dictated inner that does not admit delays, cunning or strange shortcuts for the most convenient appointment with the taste of the moment; he is a cutting edge painter, solitary, committed and absolutely convinced that the work must still be, today more than ever, bearer of a simple and direct human message. [… ]"
Giuseppe Mazzariol, in Cat. Bruno Pinto, Fondazione Querini Stampalia Venice, August 1972