"Talking and thinking to Massironi equivalent to retrace the history of the last half century of research perceptual. The artistic climate in the late fifties was generally characterized by an informal atmosphere, an art in my opinion easy, that all they could do, to the point that the degeneration brought to enforce paintings also from chickens and monkeys with results not dissimilar to those of the artists.
However, someone eluded to this prevailing atmosphere looking to travel new roads belonging to the world of making mental. Young people who worked in places distant from each other and from conditions, background and training experiences very different, often not knowing the existence of each other, because no historian or critic had theorized what was happening.
But when the most varied circumstances brought them to meet, immediately recognize themselves as subjects of the same way of feeling, more oriented towards design and architecture, sociology and psychology with respect to individual artistic trends. A spontaneous germination that would have coagulated around Almir MAVIGNIER to start with the "New Trends". And Manfredo Massironi was among these young people. " (Getulio Alviani, in Flash Art n. 274, February to March 2009)
"Faced with the work of Irene Kowaliska you run out of words, literally silent. The white that surrounds her small figure captures the silence of God. "To thee only silence is praise adequate, o Signore, o Irene”, it can be said.
This underlines our belief that by Vietri, tra le due guerre, passed only one absolute artist, only a poet, Irene Kowaliska.
All other "tedeschiesi" are good, son belli, are used, ma I.K. è un’altra cosa, è un’altra “casa” Madre. Has in it the sense of death (dell). And the extended life.
I.K. works by subtraction, the absolute minimum. She herself seems to feed on nothing, nothing, not yield to the slightest desire. You have to battle, its, in communion with his figures, made of little, abstinence, of atonement. " (Eduardo Alamaro, of Vietri pottery village, 2005)
“Haunted by the history of anarchism, of which from 1962 collects all possible documents to reconstruct the events graphically, Flavio Costantini, through the rigor of his gouaches that modulate the spot color, the contrast of the characteristic outline gnarled, filter-halo within which they materialize the figures of those of his anarchist, so closely related to the oppressed narrated by Kathe Kollwitz or by Ben Shahn, and with the skilful addition of evocative collage elements, returns the facts and humor with the passion of gesture Passanante or Ravachol.
Like a spider patient he embroiders metallic structures belle époque, weaves the bruises warps the suburbs beginning of the century, outlines, stone by stone, the network of cobbled neighborhoods Anonymous, relentless webs in which to catch and fix forever the anarchic gesture.
The functionality cold and geometric design of the facade of a building or tile a floor of a school gym, the suggestion of its findings: old labels, manifest testate e vintage, and the timeliness of his quotes, the railing of the balcony newsstand Newspaper, dall'addobbo to the conference room to the coffee Liberty, all conspire to carefully delineate the reality evoked by the obsessive detail and unsettling dreams, where the insistence of a particular expands and reverses the perspective.” (Paola Palottino, of L'Eternauta, 1982)
"The artistic figure of Alberto Biasi is one of the most consistent and influential in the field of what has been called in Italy arte Software, and elsewhere optical art, or who is also qualified by the term kinetics.
The work of Biasi belongs to the great season of Modernity and neoavanguardia, and contemporary - if not before - the experience Gestalt European, especially French and German, while it is certainly ahead of the so-called Op Art American.
The initial intention to work in group, the desire to make measurable perception, the desire to do the work of art a universal perceptual system add to his work - and a few other of those years - a utopian value that makes it even more emblematic of a world of values related to the construction of a model of perception world, Gestalt perception of which was a kind of metaphor, a test of how linguistically sector could and should be the new artistic horizons and human.” (Marco Meneguzzo, of Art a part of cult(hours), remove background noise, 5 May 2011)
“The activity of the Bonazzi is part of the final of the Italian Art Nouveau Klimt that had attracted artists such different backgrounds and attitudes which Casorati, Chini, Jad, Alberto Martin (…).
The contact with the French culture of the Bonazzi involves connections with those Italian artists who travel or for election of domicile had landed on the banks of the Seine, by Umberto Brunelleschi in the first place, Lorenzi, at the same Alberto Martini, to name just a few of the many involved in that kind of painting and decorative graphic and illustrative of’Art Decò. It is that part of the art which must maintain, when evaluating historical and critical, a prominent role in the determination of customs and figurative tendencies engaging in a direct way the human sphere, from fashion to show”. (Anthony Storelli, in “Acts and memories of Clementine Academy in Bologna”, 1974).