SHORT CRITICAL NOTES
[…] Paride Falchi is an artist who deserves the most extensive audience. If our time, instead of being dispersed in an exhausting (and exhausted) debate on “languages” would mind “Values”, the painter Falchi would emerge in plastic evidence in exclusive reason of the “Poetry” that is innervated in his images. […] Carlo Munari, art Critic, Milan, 1984
‘It opens with the revival of a Lombard artist, … Paride Falchi, whose painting is all in the twentieth century tradition, between Symbolism and Neorealism. His
re-emergence shows us how much we still have to research and know to reconstruct a complete history and geography of twentieth century art. In the quality of the Falchi’s work emerges an increasing attention to the phenomena deemed marginal or provincial. […] Vittorio Sgarbi, Venice, 2014
[…] Between the two wars the Mantuan artists who responded to the novecentist call were few and inconstant … The late rediscovery of the pictorial work of Paride Falchi must be understood in the right terms … the spirit of independence is confirmed … to ask if he had difficulty dealing with loneliness in the long journey of his creative work, he replies: “Isolated? I never realized it. I’ve always been in the company of my art.
Falchi’s landscape is transformed by fantasy, for a search for purity that is hardly to be found in reality. While reinventing, he must stay on the place, because he needs to perceive sensations, to capture the atmospheres. He prefers winter when nature becomes mysterious, the light is more diffused, the colour variations are less perceptible and silence reigns in the sleeping countryside … Loneliness favours introspection, and Falchi has been able to scrutinize deeply in his own self.
… The series of self-portraits, which starts from the early works, deserves particular consideration, because even in this field the Mantuan painter is to be considered as the last specialist … He is the last “genre” painter to whom we should owe respect. He is a typical representative of the post-war Mantuan landscape, due to the complete lack of distraction from his cultural territory. It is a pictorial current of which he remained the only worthy representative […] Renzo Margonari, art critic, Mantua, 1984