"Dates back to the 1960s the adamant abandon of his native Rome and the likewise firm choice that suits his own rule of life (according to an ethical rejection of this so functional and so well-sweetened machine-addicted society of ours, that only much later our culture peacefully make it its own in its best young people) by the free and vagabond step of who wants to build itself literally from the beginning and without hesitation of any kind. [… ]
Art, for Pinto, turns out to be a deep action then, because it is absolute: art, in fact, does not admit in him questions of convenience, and even less of cohabitation with other gestures that denounce pretensions of equal vigour and finality. If this happens, his art physically erases itself to get renewed with a simple conscience interrogating itself and the others, relentlessly, to the harshest, unspeakable self-exposure. [… ]
Painting, after the dark years of Arezzo, reveals itself to him not as a reason for living, but as life itself; not then as an instrument of knowledge, where others are more or less interchangeable, but as consciousness itself in its most concrete breath, in other words, grounded. [… ] Pinto is never tire of telling us: changing eye is not only changing eye, but all our being in all its vital and thought fibre.”
Luciani Nanni, in Cat. Bruno Pinto. Opere dal 1953 al 1987, edited by Claudio Cerritelli, foreword by Filippo Sassoli dè Bianchi, with comments by Enrico Cesare Gori, Concetto Pozzati, Luciano Nanni, Bruno Bandini, Vezio Ruggeri, Giuseppe Dossetti, Bruno Pinto. Nuova Alfa Editoriale, 1987 cit., p. 46