Critical Notes

Sunny painting , that of Pasquinelli: light, clarity, limpidity, expressive happiness. The Lombard "Clearness", minimum movement which though had considerable importance in the renewal of the Italian figurative painting, even if the critics often forget it, belongs to the first half of the twentieth century. Persico, illustrious critic, underlined at that time the approach to Post-Impressionism. But perhaps it was rather a peculiar Mediterranean Expressionism, different from that of Scipione and of the Roman School. Until now life has not been easy for the limpid, simple, genuine artists, who are not close to the régime, not subject to a party discipline. When we will do an honest critical review of the twentieth century, we will have to consider it. We will have to "discover" the completely forgotten values, give the right placing to the "setaside" ones, to put back into perspective those who have been overestimated by despotic politics. The twentieth century has been a fashion parade of "isms", an unrestrained increase of researches. Few the discoveries. People were especially looking for originality in any circumstance. But of originality by now there is very little. Everything has already been done or attempted. The true originality consists of, still and always, in the perspective from which each artist looks at and sees the subject-object of the art; it consists of in his/her feelings, in his/her living and suffering the harms of his/her time, in enjoying and dreaming the supreme goods, in the understanding the great "whys" of life. The rest are intellectualistic games, which rarely can be pleasant. Pasquinelli is a portraitist, who loves to depict also the landscape. He studies it deeply, before proposing it on the canvas. For the landscape, he does what the ancient painters used to do for the portrait of people. They were going around with them, they were carefully studying them, they wanted to see them in all of their possible attitudes. This is why, when we look at a portrait by Velàzquez, Raphael, Rembrandt, Titian, besides admiring the mastery of the sign, we understand the psychology of the character. I've been knowing Pasquinelli for years, I saw him working. He is still a en plain air artist. He studies the landscape, he feels it, lives it, he is immersed in it. He does what the police chief Maigret by Simenon does when he says he immerses himself in the turbid atmospheres in which the crime matured; he breathes them, lets them slide over him, lets his heavy overcoat with the velvet collar become soaked with these inklings. And Pasquinelli, with his light touch, from the atmospheres filters the poetry in halos of light, solar clarity, enchanting stirring of memories. His world is of stunning and dreaming simplicity. It is the little Medieval village of Montecarlo, clinging on the Cerruglio hill, which dominates the Nievole Valley. From the Montecarlo Fortress, the fabulous and discussed character of Castruccio Castracani of the Antelminelli guided his army to the victory in the battle of Altopascio in 1325. They are the marsh of Bientina and Fucecchio, the plain of Lucca, the sea of Viareggio, the rocks of Castiglioncello. He is a solitary worker, charcoal, brushes and colors, who day-dreams, but above all thinks, meditates, reflects. The verb he tries to take possession of is "to understand". He has been around Italy and Europe, but he always unequivocally returned to Montecarlo. The theater of Montecarlo is of The Reassured Ones and he feels reassured when he walks in the village, on the up and down streets, when he passes under the ancient arches, from which the shining flat land appears in the sun. He is happy, in the middle of the famous vineyards of the most joyful white wine of Tuscany. The country civilization is the last one that remains to us, after the collapse of the industrialization, globalization, the ruinous crisis of the ethical values.

Raffaello Bertoli

  • Maria Rosaria Belgiovine

    The particular sense of color translates his modern and figurative language, with suggestions that arise from an assimilated daily situation. Pasquinelli contributes with a rare optical effect to dialogue with nature, inebriating with light spaces and forms of uncontaminated glow.
  • Margherita Biondi

    Roberto demonstrated that even the most classic techniques, when are well re-interpreted and personalized, can become new, effective, and unmistakable. His canvases reveal his strong personality of passional and senseitive artist, his love for beauty and for everything that is clean, honest, and genuijne, but more than this, to nobody passes unnoticed the desire the artist has: of conveying messages of universal love…
  • Alessandra Bruni

    We are talking abuout an outdated painting, distant from the illustrious historical predecessors, and from the New Emotiveness of the contemporary world. A painting with ancient roots (come to my mind certain Roman frescoes of country foreshortenings in ancient Ostia), around which the world has deeplay changed, changing in this way its reading and purpose.
  • Dino Carlesi

    Pasquinelli is a painter who uses to live apart and silent, even if he maintains a tight affective bond with his friends, his land, his family members: of these subjects he respectsthe likeness, without undergoing it, and avoiding to propose to us again in a slavish and repetitive way the exact lines of the faces, or even better assigning the color the role of pointing out the psychological contrasts, character differences, existentialist tensions. His typically “Impressionist” culture (his loves: Degas, Renoir) allows him to catch the variety of expressions, playing always with a “light” that has the task of sliding on the faces, of creating around environments that would become the countermelody to the figure, and offering a kind of painting of great joyfulness, far away from turbid and gloomy introspections.
  • Valentina Fogher

    Roberto Pasquinelli, more than a landscape artist, could be defined as a “painter of the air”. In fact, he is a painter of atmosphere, but not in the sense that he creates particular contexts, rather that he paints the air itself, which, by being so limpid, fills itself of light in each of its molecules and reflects it. And so and behold his painting becomes three-dimensional and joyfully welcome us. We, as viewers, find ourselves walking down the gentle hills, going trough the long, cultivated fields, and in the meantime, we breath this pure air, full of life and rebirth. We sit at the threshold of the wood and listen to the cheerful brook, we relish the wind through the ears of corn and let the golden sun kisses us. But the protagonists are us, hidden, because these are private landscapes, where we remain enchanted by looking, immersed in the air. And as in his landscapes Pasquinelli opens himself in a warm embrace, in his characters he instils instead a bit of more intense meditation, that confuses us. The secure and definite stroke of his pencil and the softer touch of his oils delineate more thoughtful portraits, where perhaps more room is given to the introspection and to jealously protected fellings, which though show through the marked features of the faces. Except for his selfportraits, it is rare that these people look at us, turn on us, challenge us. Their gaze is somewhere else, avoids us, is proudly reserved, while follows its absorbed thoughts. But Pasquinelli’s brush caresses them, cheering them up: maybe they would like to be as wellin those glorious landscapes of light that the artist anyway left on the orther easel.
  • Paolo Gestri

    The certainty of the culture and the fresh execution are the two poles within which the work by Pasquinelli opens out. Some people say that he is an Impressionist, because of certain points of view like Cézanne and painted backgrounds in Monet’s style, or Macchiaioli, for the idea of real life that certain color draftings arouse, but it is possible also to define him an Expressionist for the decisive concreteness of some passages.
  • Guglielmo Lera

    Landscapes where the work of the land, the solitude of the woods, the wander of times on the same fields and same hills, live their thoughtful reality. Foreshortenings of rivers, relived as symbol of the rapid flowing of things, in a world that strives in creating and destroying. Every painting by Roberto Pasquinelli is a tale, to which the foliage of the trees, the meadows, the gestures of the people provide cues for a complex and fascinating plot.
  • Giuliano Maggiorini

    Season after season the Art of Pasquinelli nourishes and exalts itself by the seductive land of Lucca, qualified by the French poet Lamartine as “Italy’s Arcady”. With a virtuous, “francigeno” touch – his dervation from the impressionists is clearly recognisable – Pasquinelli magnifies the landscapes that are familiar to him and as many reflections of his “interior Arcady”. An artist in tight symbiosis with his land, he reveals us through his works that Happyness is not an unknown land.
  • Mario Marzocchi

    Here it is, finally, the model landscapist, to whom nothing slips by of what contributes to glorify the beaty of the cultivated fields, the rows of vineyards and of trees, the green woods, that spot the ridges of the hills until the silent summit which dyes itself of sky. Everything is harmony, everything is poetry.
  • Liano Petroni

    Who loves painting cannot miss the value of the zeal and bent – a good, well cultivated talent – of Roberto Pasquinelli. In the wake, aware and therefore progressively wanted of som French Impressionists, as well as of the Tuscan Macchiaioli – the ones and the others revisited, assimilated, revived, with original perspectives – Pasquinelli created for himself a personal style in the choice of two fundamental themes: the landscapes and the portraits.
  • Vittorio Sgarbi

    In his aerial painting I feel the desire of doing pure painting and that it is… People begin again to paint without having behind nothing else than what you saw in a moment and you resume it, therefore without history, tradition, culture, which would weigh, compress, until destroying the canvas.
  • Alessandro Tonarelli

    His painting reveals great inner cleanness, which he projects in landscapes represented with typicalluy Impressionist parameters, filled with an existentialist disenchantment, that shuns gloomy introspections, although magnifing the perfection, which is proper to each natural reality. Every painting by Pasquinelli is a segment of a same narrative path, which “talks” about the culture and life of that Tuscan countryside of which the Artist is expression.
  • Faustina Tori

    A sensitive and refined painter, who never loses sight of the true values of the existence, without getting lost in the meander of the incomprehensible and the absurd.
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