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Bruno’s chair, a rough straw—bottomed wooden chair with high shoulders, the likes of which can still be found in those old countryside churches, is transposed into geometrical patterns suitable for complex games, both due to the painter’s schemes and the colours it is painted with.
(Luigi Carluccio, Gazzetta del Popolo, Turin, 3 Mai 1975)
It is easy to realize that this painter’s history is progressing and “the divertissement” about the chairs subject makes room for intense visions, skilfully proportioned in design, structure and colour: visions in which nature and artifice attain a good balance.
(Luigi Carluccio, Allusive Objects in Bruno’s pictures, Gazzetta del Popolo, Turin, 3 March, 1972)
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