In a particularly disorientated and restless phase that we are facing, the research of a young artist attached to an ancient and sobre rural ethic and a pilgrim curious of the modern and frantic world seems to be emblematic and enriched with an original expressive force.
A suburb that lulls itself in traditionalism and an avant-guarde suspended in emptiness. Carlo, from Monticiano, near Siena, begins with paintings that translate in frantic drawings, in a registration of rythmical gestuality, the experience of a world that is poor, ancient, colourless and without plasticity. It seems that Pizzichini in his early beginnings crumbles into small everyday language the pre-eminence of religion, the calculated linearism of the great Siennese painting.
ROBERTO BARZANTI

A problematical and continuous itinerary, in which images of different natures come into conflict, but are nevertheless full of sweet and modest subjectivity. In Pizzichini’s work, even the tragic everyday life seems to be a far away presence, almost forgotten. We can use the formula to summarise the results and the young aspirations that make of Pizzichini a vital association: “The Crest of the Dispute”. Instinct is mixed with reasoning and reasoning hurts with its cold flashes, a child’s dream.
ELISABETTA ERMINI

Without a doubt, in the essence of his own imaginary, Carlo Pizzichini is a lyricist. Lyrical because his imaginary is instinctively evocative, within an implication of different levels that span from his daily life of nature and the scenery, to psychological implications, to sentiments, passions, moods, cultural fascination that has been witnessed more like revealing occasions rather than a way of life. Lyrical therefore instinctively poetic, passionately fondled in his own personal style, even when the tension seems to be most praised, almost a shying away.
ENRICO CRISPOLTI

Painting for Carlo will never be referential, it will never be tied to an adverb, it will always be in motion, the movement between things and their continuous drifting. For this reason Carlo talks about spring Christianity: meaning happiness but also an infinite continuation, a continuous presence that leads to another place, forever in motion. The power that seizes the poet. A poetic frenzy, a mania that pushes him to continue without figures, towards the unexplainable.
RUGGERO SAVINIO

A sensible and lyrical painter, with his character and his gentle manners and his artistic soul that helps to bring Siena closer to us, the leggendary Siena of European painting, able to constantly produce real artists. Our conversations, held  in the enchanting atmosphere of rural art, of passion for the discovery of secrets for the professional vocation, the joy of creating, leave me with the memory of an artist who fully reflects the Italian proverb “nella botte piccola c’è il vino buono” “good things come in small packages”.
PROF. WLODZIMIER KUNZ

 

Carlo Pizzichini, the receptive painter who views the world in the broad sense, without prejudices, whose perceptions come from pictorial sources. Carlo Pizzichini’s paintings are governed by our own personal laws, they are simply a personal registration, unique in it’s genre.
 IGNACY TRYBOWSKI

Carlo Pizzichini’s paintings are very harmonious, they present the friendly relationship that exists between men and objects, they cautiously touch the world, they carefully preserve memories, the “beauty” cure which is most impressive. We can say that a work of art is the embellishment of life in an assessment of what surrounds man and what he has created.
BEATRICE ROLLI ZINSSTAG

What immediately strikes us about Carlo and what has influenced his way of painting is the authenticity of his energy, the creative passion and the cleanliness, the intellectual honesty in his behaviour: a purity that makes up the rural world and to whom Carlo belongs, that has imprinted the ancient and absolute values that have been acquired and rediscovered again. Spirituality, nature, sacred, a mystical interest for everything that withholds humanity and deep truth that leads to the sources of Being and Creating, seem to be the constant incentive for his paintings.
CARLO NEPI

The formal motive of Pizzichini’s works is the weft, resembling writing, that folds out like a web on the paper encompassing the text. The net of the signs is the background and the themes. The descriptive transiency and the paleness of the figures sketched without volume, held in the frame or fixed with a small touch of colour - a pietas to quotation - refer to an impersonal story, dissolved by discretion. Even Pizzichini’s “newest experience” attempts to bring out the rhythms of life that we all try to grasp, an element that attempts to give a meaning to an unrepeatable and personal existance.
GIUSEPPE RIZZO

A mixture of the world. Carlo Pizzichini: a lyricist, an enormous soul, a soul inebriated of beauty with an innate knowledge of the dangers, aboveall of nature, an optimist, because he fails to be a pessimist, a musician of the canvas, orientating himself towards the light because he knows what the dark is like and is afraid of it. Carlo Pizzichini therefore paints his soul, his emotions, his memories, the psychological implications that they contain, his subconcious just like his conscience translates all of this with colours, rhythms,  musical lines, light and dark: all with a sleepy certainty. Whilst looking at his paintings it is clear that we have the possibility of understanding without having opinions. Pizzichini is dedicated to inspiration, his painting is spontaneous.
ALOIS BUCHEL

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