however you look at it, it’s impressionist painting, updated with a modern taste: matter and also touch, the first airy, bright and lively, the second agile and flexible and eminently able to seize and make the real more fleeting, the l wider real and less provided with those resources of which many painters abuse, who apparently seem more shrewd but actually are   not so good painters.

Bertaina sure of his colour, of  his touch and of his cuts, can place himself in front of his landscapes that span a wide horizon, that lay out  a considerable escape of  perspective planes; quickly everything is translated on canvas set in a quiet and serene atmosphere and the air circulates among the tangle of shrubs, among the branches and foliage, on the vineyards, on the crest of the hills, and on the still lives.

A solid painting that develops and breathes at the rate of the flow of life of the portrayed things: that embodies the essence of natural organisms, such as determinant relations of existence in a given situation arises a serene feeling. Matter and light are melted in a stream of chromatic sap and they become a living reality.

Everything I have said contributes to a final statement summarizing the  judgment on Alex Bertaina’s painting; it is organic and exemplary consistent in its developments, since it doesn’t touch a  different keyboard to attempt each time separate chords, but he enriches himself with each reached harmony to make a page of that unique composition that drew him from the classical melody to the tenacious reasoning of the symphony of colour.

So, is this young painter from Piedmont, with all the baggage of his artistic passion.

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Umberto Zaccaria

Modena (Italy)