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.
                                                                                                            Maria Rosaria Belgiovane

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…
                                                                                                                          Margherita Biondi

We are talking abuout an outdated painting, distant from the illustrious historical predecessors, and from the New Emotiveness of the contemporary world.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.
                                                                                                                           Alessandra Bruni

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.
                                                                                                                                    Dino Carlesi

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.
                                                                                                                           Valentina Fogher

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.
                                                                                                                                   Paolo Gestri

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.
                                                                                                                               Guglielmo Lera

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.
                                                                                                                         Giuliano Maggiorini

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.
                                                                                                                             Mario Marzocchi

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.
                                                                                                                                  Liano Petroni

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.
                                                                                                                                 Vittorio Sgarbi

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.
                                                                                                                        Alessandro Tonarelli

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.
                                                                                                                                    Faustina Tori