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it has been written:
Germano Beringheli, art critic his works it is evident, together with a sort of remarkable primitiveness, the influence by some artists, whom fantasy leads easily to comic-strip, or popart, results (Farina, Echaurren, Alinari). (from "Dizionario degli artisti liguri", Genoa, 1994)
Luciano Caprile, art critic
The voyage as an approach to the imaginary. So we could define the painting of Roberto Bixio [...] Excavation findings surface in desire and memory, as certain compositional or tonal references that hint at a sort of recurrent Giotto's manner, logical seduction of enchanted landscapes, lost in the routine. From here Bixio's transparent touch of the brush starts, either for the water-colour that assumes the tones of a dream to climb up Kandisky's kaleidoscopic eruptions, or to be mirrored in Klee's mysterious and calligraphic personages. To get rich, during the journey, in literary, musical or geographic quotations. Without identification, nevertheless, with a definite or definitive place or with a real climate, the whole appearing imbedded in the pleasing Limbo of the fantastic [...] (from the catalogue of the exposition at "Arte Fiera", Bologna, 1994)
Claudio Costantini, Faculty of Letters, University of Genoa
[...] Probably Bixio doesn't believe in vocations or he doesn't overvalue them; [...] he prefers to build up his existence bit by bit [...] In a similar way Bixio constructs his paintings [...] The colour is worked in with the same value all over the surface; the objects, mainly shown frontally, turn out foreground [...] Perhaps the lack of prospective correspond to a view of life without hierarchic level between thoughts, dreams and emotions. Perhaps.

[...] I have the feeling that [for Bixio] painting has been a Way to get out the cage. It does not matter to know which cage. Beside the results, the interesting thing, I think, is the way Bixio, as painter, has developed: according to planned projects of evasions, in order to go back to open air and to escape choking. [...] (from the catalogue of Orti Sauli Art Gallery exhibition, Genoa 1993)
Renato Dellepiane, literature and art historian
[...] Bixio's painting originates always from experience: emotions, memories, visions [...] But this reality needs an order, needs to find now geometric shapes, now manufactures, in which things seen and contemplated for an instant are fixed for ever. Considering the technique, we find in Bixio the most different quotations, from Giotto to Klee, [...] which belong to the culture of an artist for whom the artifice [...], the attention to the substance and to the general purpose of a painting, aspire [...] to a "reassembly of the fragments of many different lives": his own real life, the dreamed or wished one, and that of all mankind. (from the catalogue of Unimar & Unimotor exposition, Genoa, 2000)
Andrea De Pascale, journalist
The primary colours with strong and bright tones, the subjects always related to natural world, the combination of special elements apparently not related to one another, but on the contrary, with strong ties. This may be a genaral description of Bixio's artistic work, an artist from Genoa, who has been painting for many years beautiful water-colours, oils on canvas or serigraphies, all of which full of longing for life and enthusiasm.

Every day experience and things that mark life, all come to the surface in Bixio's works, to represent places he loves, like Ligurian or Turkish landscapes, together with interesting elements. So, in some paintings, mountains are nothing else that painted clothes with drawings of trees and flowers, the sea is a foulard with little fishes and corals. A surprising effect that changes these works in objects of beauty to admire[...] (from the newspaper "Corriere Mercantile", Genoa, 1996)
Engin Özgen general director of Antiquities, Turkish Ministry of Culture
[...] Bixio's painting is comparable with that of Lackovic, it has chromatic tones alike to the Rabuzine's ones, and a similarity to Generalic the Father in selecting a prevalence of pink. From this point of view we could consider him like a naif. But the composition of his works is not naif. The choice of thin and sophisticated colours is not naif and, mainly, Bixio himself, who knows history and painting technique, is not naif. (from the catalogue of the Italian Consulate of Izmir, Turkey, 1995)
Giannina Scorza art critic
The work of the painter Roberto Bixio is supported by curiosity and attention to the environment and to the landscape, transformed in eccentric fables and edenic enchantment; a rigorous investigation in which the veduta technique is transcribed into an oneiric fantasy; the value, the meaning, the fascination of the journey, lived as the transposition of the reality into "images from the imaginary" [...]

Bixio is a versatile personage, with faceted cultural, artistic, scientific, ethnographic interests [...] At the basis of Bixio's visual language there is the concept and the condition of travelling [...] The artist reveals and summarizes both aspects of his personality by means of the stylistic results of his levitating, floating and vaguely surrealist "imagerie", with a joyful, ironic and childish gestural imprinting, and the delicate, pastel-like chromatic tones. His archaelogical and spelaeological mind looks for the simbols of the past and mysterious dimension of human existence and activity. (from the newspaper "Corriere Mercantile", Genoa, 2000)
Fiona Steinbach Palazzini writer, journalist, communication consultant
Roberto Bixio is a painter and archeologist from Genoa. His painting represents actual places and events in a fanciful atmosphere. Bright colours, transparent brush-strokes, warm pastel tones give life to the places that he loves as Ligurian or Turkish landscapes (from the book "Costa Atlantica, la città ideale", Turin, 2001)