"[…] In an age when it seems quite difficult to engage directly in the work, and in which we do not to look in the eyes the person we are talking to, a model of interpretation must arise that, like a hermeneutic probe, may allow us to rummage the surface of the painting. The great ideologies have collapsed, their reflections on the autonomy of art have been extinguished completely, the voice of poetry can perhaps return to recite without being insulted by 'formalism'.
I believe that this is a very high moment for every kind of poetry, for a great humanist pedagogy that can teach the civilization of well-being what is the great way to go. That, probably, as the world of poverty had painstakingly taught us, in centuries of passing on, of generations and even of intellectual customs.
Why these reflections in front of Bruno Pinto’s work?
[… ] I would now like to meditate on the issue of the subject matter and how I tried to do and how it seems Pinto did. [… ] And without forgetting that a very complex line, but prevailing in the end, which rose towards our years from the origin of modern civilization, carried within itself, if not recognizability, space, total freedom of the landscape. [… ] The landscape had suddenly replaced the old, thousand-year-old macrocosm of symbols and metaphors, concepts and liturgical notions: the modern landscape, where the new relationship between man and nature was to be established as a lesson of freedom, harmony and pacification. [… ]
After all, much of the disintegration of the central form that our century has tried to implement, is stubbornly reassembled in the truth of the various spatial forms. For this reason I have talked about a constant, consistent feeling of space in the work of this artist, almost as if from the top of the prospective telescope it is still possible - varying the focus - to get back to figurative reality: and with her, before and even higher than her, that pacification of the difficult relationship that man entertains with nature and things still today and more than ever.
The breakdown of the central form means, as in the first pages of Serenus Zeitblom’s childhood education, in the Doctor Faustus by Thomas Mann.
Sand, a drop, heliotrope, ice crystals: '… are models or imitations of vegetable forms? '. The answers were logical and at the same time fantastic, and it is also useful for us to look at Pinto’s work together: 'Neither one nor the other, will have responded to itself; they are parallel formations. Dreaming and creative nature make the same dream here and there and, if it is permissible to speak of imitation, this can only be mutual."
Andrea Emiliani, in Cat. Bruno Pinto. Luoghi Controversi del cuore, edited by Silvia Evangelisti, with comments by Bruno Bandini, Andrea Emiliani, Silvia Evangelisti, Flaminio Gualdoni, Luciano Nanni, Bruno Pinto. Nuova Alfa Editoriale, Bologna 1990, cit., p. 7
Andrea Emiliani, in Cat. Pinto, edited by Silvia Evangelisti, with contributions by Andrea Emiliani, Silvia Evangelisti, Flaminio Gualdoni, Luciano Nanni, Bruno Pinto. Nuova Alfa Editoriale, Bologna, dicembre 1991, cit., p. 7