"To Pinto, time and space are not 'fictional' but are the real articulation structures of the experience: in this precise sense his painting is anachronistic.
It does not show mannerisms, but always statements of content that emerge, that through painting must reach a definition, a primitive and plausible border […]. The space and time of Pinto’s painting are the space and the time of the foundation, of his coming to life, of his expression in perceptual structures, in a visual language: a narration of a single verse, decisive, fundamental event that memory cannot (or does not want to) eliminate, because it is rooted in it with violence, with absoluteness. [… ] Yet to think of Pinto’s works in this dimension seems to the author that they have crossed a boundary that instead is constantly uncertain (and in some cases it is the condition of poetry itself): the one that distinguishes - But precisely for this reason it also has a logical and pre-logical link between strong cognitive functions and metaphorical knowledge. [… ]
The 'truth', for Pinto, is given and is measurable; it does not reside in taste, nor in actuality, much less, in intuition.
It cannot be guarded by a state of hallucination, but it can be evaluated in relation to the mental field that makes the ideas, the execution processes, the research operational.
Art is, then, finality building… it is hope. [… ]"
Bruno Bandini, in Cat. Bruno Pinto. Opere dal 1953 al 1987, edited by Claudio Cerritelli, introduction by Filippo Sassoli dè Bianchi, with notes by Enrico Cesare Gori, Concetto Pozzati, Luciano Nanni, Bruno Bandini, Vezio Ruggeri, Giuseppe Dossetti, Bruno Pinto. Nuova Alfa Editoriale, 1987 cit., p.49