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In your pictures, which I saw under special circumstances, all the best features seem to be right there, where you let your imagination sweep and neglect the metaphisical model.
(Ernesto Caballo, Introduction, Aiace Ed., Turin 1972)
Cesare Bruno is perhaps “afraid to be right", too, in a tortuous, troubled world like ours; heproves however that a “non besieged” world isn’t possible and enjoyable either: chairs help mankind to live, I daresay, more than bed, prie-dieu and wheel do. There is even a “chair’s sociology” attesting conditions, origins and behaviours of those who usually sit in. In painting, we find other chairs, like Van Gogh’s, Guttuso ’s, or Magritte’s giant stone chair and Ceroli makes and carves chairs, too .... .. Cesare Bruno always keeps the equidistance between suggestion and refusal.
(Ernesto Caballo, A quite restlessì “sedentariness”, La Nuova Albertina, Turin 3-30 April 1975)
Bruno is a copernican painter withdrawing from any form of anthropocentrism.
(Ernesto Caballo, Small Repertoire, Aiace Ed., Turin, 1972)
The chair is a modern/old piece of furniture, one of those everyday life’s helpful tools. There is little difference in painting a chair or a friar’s portrait as it is hard to tell which period of time they could possibly belong to. Cesare Bruno painted chairs for over ten years without changing subject nor shape, but model, making use of optical illusions and ever—shifting compositions, trying to avoid “nature ’s perils” not a difficult task for him (just think of Mondrian, for instance); dénaturaliser c’est approfondir, however. Bruno takes aristocratic pleasure in playing with the single subject (somebody might not agree), swiftly rearranging links and marks, exploring off limits ground and heavily stressing its cromatic texture as he sees fit .
(Ernesto Caballo, The chairs around us, lstituto Nazionale d’Arte Contemporanea, Roma, 5 February - 1 March 1987)
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