In Buenos Aires, critic Rosa Faccaro said in 1980: “This vital vision that you can enjoy in Norberto Moretti’s work, in his still natures as much as in his landscapes, is manifested with a personal seal. Sensitivity, for him, always belongs to an ordered and structured world; this shows he has compositionally studied the contents he sets forth. But this artist also has a subjective way of formally aprehending the external reality. The result is a pictorial composition with a symbolic, animical charged contents, where objective limits are distorted and inanimate beings get humanized.” Also in Buenos Aires, about an exhibition of landscapes and still natures, La Opinión stated: “The Rosarian artist uses mainly luminous hues, actively combining cold and warm colors; matter is spread generally with a spatula, in planes and smudges applied to very simple rythmic schemes. He prefers a bare description, but through the use of strong passages rather than the elimination of details, or melting certain anecdotal particulars of his subject to those rythmic frames. His technique is direct; the making, capable and easy; there is a considerable plastic quality in the pictures shown at Esmeralda 870.” That same year, critic Lujan Carranza said in Rosario, about one of his exhibitions,“In short, we find Moretti in a fertile stretch of his trajectory. Ripening his passion (his vital sign), reaching transcendental vibrations, solidly structuring his compositions. Nothing is left at random (and this points to his reliability) but he never loses his splendid warmness through color, through his shifting creative urge, asserting an expectant and promising personality. The owner of “pondered spontaneity”, Moretti has a highly promising future in the visual arts.”



Las Obras expuestas son propiedad de Norberto Moretti Prohibida su reproducción total o parcial
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