"[… ] With painting, Pinto has had, for a long time, a kind of struggle of Jacob with the angel, a series of bitter and dramatic clashes, whose stake was serious, because it dealt with his own life, the reason for his presence in the world […], Pinto acknowledged that it was imposed to him as an irrefutable destiny […].
His estrangement from the ordinary connective tissues of artistic life also meant a judgment of the ephemeral chronicle and the movement of taste, towards which he feels rather indifferent. [… ] I do not have doubt in saying that there is something very unusual in this painting, that isolates itself from the circle of prevailing relations. [… ] The sentimental intensity absorbs the exteriority and gives the tensive form of this passage, of this encroachment of nature animated in the consent of the visionary fantasy. It is a nature not contemplated, not used as an excuse, but lived in its deep 'genetic' instinct that stops vibrating on the canvas and on the leaves, and therefore it succeeds unusual, unconventional, so spontaneously transitive of its force, incorporated and evoked. [… ]
A thoughtful and frank personality, which has stripped itself of appearances and billboards, rejected as inessential, which has made of a conquered wealth a dense and impetuous simplicity, which does not fear to appear naked and disarmed, with the illuminating truth of a sincere vision and an authentic experience of humanity."
Carlo Ludovico Ragghianti, in Cat. Bruno Pinto. Presentation by Carlo L. Ragghianti, testimony by Giuseppe Mazzariol. Querini Stampalia Foundation Venice, August 1972
Carlo Ludovico Ragghianti, in Cat. Bruno Pinto. Presentation by Carlo L. Ragghianti, Centro Attività Visive Palazzo dei Diamanti, Ferrara, January 1972
Carlo Ludovico Ragghiant, in Cat. Bruno Pinto, La Strozzina, Florence, 1971