Giuseppe Curonici wrote in the volume “Mario Bernasconi” Salvioni Arti Grafiche, Bellinzona, May 2005


“We believe that the naturalistic image presence in  the human figure by Mario Bernasconi is on one side a permanence of the ancient post-classical, a traditional act;  but on the other side may also be an act of contemporary reflection,  just so because it is one of the voices in modern pluralism. The post- classical naturalism is present in the Italian culture throughout the clima of the twentieth century, in particular we can contemplate the early work of Marino Marini (who knew German art directly) In French culture, it is the name of Maillol, Rodin and others. As for German culture, a master of figurative sculpture that Mario observed is Lehmbruck, and others, of course, even in fields far from his own: He loved Klee’s paintings. Mario Bernasconi lived in Germany from 1927 to 1929, after his marriage to Irma Pannes. The linearity and the expressive imaging of many portraits, especially feminine, originated from the various experiences that we will so summarize: naturalism, classical tradition, and technical mastery, twentieth-century Europe. As a man and citizen, Bernasconi had a strong psychological and social sensitivity, as an artist, the apparent visible simplicity in his approach contains a secret but intense complexity and depth, that gone time has not erased, on the contrary it helps us to better understand."