At the work of Vincenzo Parea they have dedicated critical essays and introductory writings:

Giulio Carlo Argan, Bruno Bandini, Riccardo Barletta, Carlo Belloli, Claudio Beccaria, Marco Beretta, Antonio Calderara, Domenico Cara, Claudio Cerritelli, Alfio Coccia, Mauro Corradini, Dadamaino, Federica Dafarra, Giorgio Di Genova, Giovanna Fiorenza, Julio Flores, Giuseppe Franzoso, Carlo Fumagalli, Isabella Gardens, Flaminio Gualdoni, Friedrich W. Heckmanns, Lucrecia Vega Gramunt, Dino Marangon, Attilio Marcolli, Francesco Marinone, Giuliano Menato, Marco Meneguzzo, Guido Montana, Elena Pontiggia, Federica Rabai, Claudio Rizzi, Nanni Rossi, Luigi Sansone, Giorgio Segato, Cristina Portioli Staudacher, Alberto Veca, Annalisa Vella, Francesco Vincitorio.

“… The” communicating medium “of the artist is, in fact, pointed out only in the” values of color “, exalted beyond the tone relationships by a dynamic tension of luminous contrasts that make at the same time fascinating and full of mystery every opera … At this point, reality is no longer conceived as an objective fact, but as an intellectual fact materializing in the realized work and only in that, every relationship generated with the outside ceases; the realized work becomes “autonomous situation”, therefore an intuitive and provocative creation of intellectual moments in the observer … “.

GIUSEPPE FRANZOSO, from the catalog of the personal exhibition to the Galleria Valori, Milan 1972.

“… The exhibition of Vincenzo Parea, at the Centro Valori, appeared as that of a young man who opened up a whole series of interesting perspectives before him. If the research to which he dedicated himself will have the developments we have reason to hope, the name of Parea is destined to appear as one of the most significant promises that will have been implemented over these years … What makes it worthy of great attention the work of this young man is the order of composition, without adjectives, the logical cadence of the rhythms and the completely abstract disposition and becomes sensitive through the spirituality of color … “.

ALFIO COCCIA, da “La casa” anno XXXII n. 4, 1972.

“… The highly calibrated tone relationships, the rigorous combinations of space, therefore assume an essential, primary and irreplaceable function in the creative and communicative context of Vincenzo Parea, establishing, in the realization of their internal relationships and interactive exchange of values, the exact symbiotic dimension that is born between the conceptual thought of the aesthetic operator and the emotional feeling of the artist. And it is precisely on the invisible thread of this concatenation of technical and spiritual reasons that Vincenzo Parea weaves the canvas through which his artistic expression comes to life, and speaks, to whom it approaches, with the silent poetry of an arcane mystery … “.

GIUSEPPE FRANZOSO, from the volume “lyrical Structures”, Vigevano 1973.

“… The structural solution that Vincenzo Parea proposes tends to the establishment of a mutual interaction based on the common experiential denominator of the irreversible reversible relationship between” form and color “, and on the psychological implications of the interweaving of these solutions emanating from the progressive results obtained … “.

GIUSEPPE FRANZOSO, from the catalog of the personal exhibition to the gallery La Darsena in Milan, 1973.

“… Space, as a field of operating, qualifies in the function of space as an object, a logical combination of the elements that it contains. The surface is defined by the structure that is organized in the thoughtful variability of its size relationships: the color in it is inserted as a motif that determines the intervention of the sensible in the rigor of rationality … The space becomes color: the color becomes motivated reality of thought. The image, in its becoming, is brought into being as a signifying unity. Vincenzo Parea analyzes the possibilities of this becoming, within the limits of his own measured intention … “.

GIUSEPPE FRANZOSO: Vincenzo Parea “Spazio Oggetto” i quaderni dello Studio V, Vigevano 1974.

“… In the current aesthetics the chromatic strategy does not create objective events, it does not serialize the lyric ludo of rationality, instead its reflection is experienced … Monochromia is a kind of constructive diligence conceived on similarities of a relationship of order, never on language avoidance … “.

DOMENICO CARA, from the exhibition catalog to the Arte Struktura gallery, Milan 1975.

“… having said this, however, little has been said about the pregnancy, the sublimation that the artist works exclusively with color to revisit the famous poem. It does not fear the comparison before so much greed that, instead of making it succumb, it coexts it. This is because the author of the chromatic interpretation of the verses is a pure man, shy but industrious, sensitive and mystical so very close to the seraphic creator of the song … “.

DADAMAINO, from “In Nomine Naturae”, Milan 1980.

“… it seems to us, in fact, courageous to react to the contemporary clamor of the various paracultural behaviors with a weaving of silences induced by color, with an activity of research of deconstructed chromoformal neutrality … Vincenzo Parea has now identified a personal dialectic of intervisivity that well justifies the progress of their research in this same direction … “.

CARLO BELLOLI, from the volume “Chromophanes in Irriferent Structural Synopsis: Vincenzo Parea” for the editions of Arte Struktura, Milan 1983.

“… Parea’s work has brought to the international concretism new possibilities of achromatic interationality where color is proposed in times of expansive optical success, virtually magnetic. Actuality of a painter who, overcoming the law of large numbers, tends to an infinitely creative and inexhaustible constructive becoming, not to a blind progression of the injectivity … “.

CARLO BELLOLI, from the catalog of the personal exhibition “Minicructured Lucicromies: Vincenzo Parea”, Arte Struktura, Milan 1983.

“… the interest that his investigations in the field of chromology have aroused in theorists and critics of established responsibility, make it really necessary a clarification that informs the public of those interested in the path so far traveled by the artist and that witnesses its current results … “.

GIUSEPPE FRANZOSO, from the catalog dedicated to Vincenzo Parea from the Pinacoteca Civica di Vigevano, 1984.

“… and this means to pay tribute to the operational ability of Parea, to a” trade “of painting redeemed by the striking effect and brought back to a discipline where its quality coincides with the disappearance, or the lowering to the limits of legibility of the manual intervention, of the brushstroke as of the drawing on the table. On the other hand, in a work such as that of Parea, linked to the essentiality of the forms and to a chromatic palette of the single work reduced to several gradations of the same color, technical skill is an absolutely necessary element, otherwise the whole system will be distorted expressive…”.

ALBERTO VECA, from the catalog of the personal exhibition “Sequenze di Forma – Colore”, Circolo Filologico Milanese, Milan 1992.

“… summing up: no representation, no real line, only one color. A color however intense, absolute, pure; never contained by anything except the outer borders, perfect, dilated-of the square support. What, then, is the “reality” asserted by Parea? He shows us, in the most disenchanted way possible, color as “emotional infinity”. Voice that borders on silence. Bringing together more paintings of Parea we will now hear the voice of “that” red, of “that” blue, of “that” black. And it will affect not so much our perceptual organs as our soul. We will have emotion and feeling, or together a total vibration free from conditioning … “.

RICCARDO BARLETTA, dto the catalog of the personal exhibition “A journey in color as” infinite “”. Galerie Regio, March-Hugstetten (b.Freiburg), 1993.

“… Chosen a certain color Parea begins to spread the pigment trying to avoid any residual subjective implication in the modulation of the ductus, each emergence expressive emerging in the discerning of the brushstroke that, vice versa is muted by repeated layers and sanding, overlaps and abrasions, until you get closer as much as possible to the uniform, internal saturation of that particular shade. In any case, one should not think of conception and execution as two distinct moments, as at two different times, but rather a dialectical development of choice and emergence of image that finds its realization at the moment of the initial rarefaction of the determinations, understood as without prejudice, a plurality of future potentialities … “.

DINO MARANGON, from the catalog of the personal exhibition “Vincenzo Parea. At the origin of color “. Cultural Association Check 8 + 1, Venice-Mestre 1994.

“… It is color, therefore, that goes towards the spirit of Man, and not vice versa. It is the artist who makes color his own communicative language that sends his message to those who observe his work (…). We are faced with a coloristic monody of extremely refined spirit, where the thickness of the tone assumes the task of making the spirit of the observer sensitive to the beauties of pure emotion vibrate with lyrical pulses … “.

GIUSEPPE FRANZOSO, from the catalog of the personal exhibition “Vincenzo Parea, or of color as spiritual emotion”. Fluxia Arte sono-visiva, Chiavari (GE) 1996

… For him the colors are sublime values ​​of shades of the same color and modulation from one color to others in the spectrum of the colors themselves, provided they are part of the same degree of hue. So also the “lyrical structures”, name that Vincenzo Parea gave to his first edition of serigraphs of 1973, convey a quality of expression, made possible only through the calculation of the values ​​of color tones, this expression, which usually in the language it is attributed exclusively to poetry (…). Despite these researches of color, they aim at the observer’s mediative attention and have as their result a surprising poetic value (…). Rather than creating objects that help color create one’s own existence, and therefore not to be characteristic of color of something, not even of a passing mood. Only in the attentive perception of the observer is this life formed. The painting is as Giuseppe Franzoso says, an allegorical musical score … “.

FRIEDRICH W. HECKMANNS, from the book “Imaginations Geometrizzanti”, Galerie Regio editions, March Hugstetten (B. Freiburg) 1996.
“… And this spatial continuum is transformed into pure music, in a score in which the notes rise or fall correspondingly to warm and cold tones, coming to compose a symphony given by the sequence of the ideation, but with multiple independent existences in the realization. Powerful art that is strongly impressed in the perception of the observer and which, at times, can be dismaying, Parea’s work requires the right amount of meditation time to be internalized, studied, understood (…). The aura that expands from the tables can be judged to be pure vibration. Poetry and music, feeling and geometry, emotion and calculation, extraordinarily fused and indissoluble … “.

FEDERICA DAFARRA, from the catalog of the personal exhibition “Vincenzo Parea: the invented color”, Santa Maria Gualtieri, Pavia 1999.

“… Approaching the pictorial work of Vincenzo Parea means diving headlong into an emotional universe capable of making all the chords of feeling vibrate, until reaching a sense of order, balanced cleanliness, which is generated primarily by color. Color that is pure invention of the artist, continuous research of new expressive potentials, unconditional adherence to a very original palette that becomes a place of experimentation and growth. (…) They are straight lines and semi-circles to form visual connections in which the color no longer finds limits and delineations, if not in the same perimeter of the work.

There is no room for shadows, but new colors tend to achieve a perfection that is experienced as a problem open to multiple solutions.

FEDERICA DAFARRA, from the catalog of the personal exhibition “Vincenzo Parea: the invented color”, Biblioteca Rionale Calvairate of Milan, 1999.

“… All titles have their own story, a conjuncture that has determined their birth. In fact, in the conjuncture of the late sixties, Vincenzo Parea’s choice was made to direct his research on color and expression, in a Milanese and international context attentive to the analytical procedure on the subject, in an attempt to renew a “non-figurative” pictorial experience that excluded the “subjectivity” of a generally abstract language judged arbitrary. Hence the interest in experimental scientific studies, experiences no longer linked to intuitive sensibility but to the systematic rules of inquiry which, starting from the reflections of a Goethe or a Chevreul, reached the systematic formulations of the twentieth century, significantly linked to the experience artistic and educational.
Although unusual tools and procedures are used in the world of traditional painting, Parea’s paintings are entirely manufactured from the preparation of the support, a wooden board whose imperfections are progressively eliminated until reaching a smooth surface, without any roughness. . The procedure is long and patient but for the artist the debut point of painting does not have to know interferences because the discourse is that of the light / color binomial and there can not be any environmental interference … “.

ALBERTO VECA: COLOR ETHYMOLOGY, from the catalog of the personal exhibition at the Centro Culturale “Surface Anomala”, Milan 2002.

Speaking of the works of Vincenzo Parea it is almost inevitable to get lost in the intellectual intricacies of the science of color, difficult to resist the temptation to reopen the book “Art and visual perception” by Rudolph Arnheim, hard to mention anything from Goethe’s color theory; and yet it will be!
Paraphrasing the German genius, I will approach the work of Parea for “Elective Affinities” so, synthetically, as a rigorous synthesis he has arrived in his work.
“Mandala croma” the title of the exhibition, identifies the value I gave to the artist’s works: medium on which the observer can concentrate his attention and activate that part of himself so close to God as to poetry.
From pure color vibrations you get to a real chromatic epiphany, thus bringing the viewer to a totally individual catharsis. From the non-form or better still: from the liberation of the form, a sort of pacification with the universe springs forth.

GIOVANNA FIORENZA: MANDALA CROMA, from the catalog of the personal exhibition at the “Borderline Arte Contemporanea” Gallery, Vigevano, 2002.

“The intensity is absolute, the tension seems to have led to the last point of equilibrium, a prelude to an intuitive but unknown infinity, rigor dominates the painting and rationality determines a score of irrevocable precision. the soul of the painting emerges alive, pulsates and surpasses the iron syntax of relationships Emotionality and intellect do not fight but coexist.The systematic order in the work process is intellectual, almost an ethical and juridical code, an imperative norm in the expressive process. it is the poetic contribution of amazement and wonder, of silence and space, vibration and firmness that suggest a higher idea of ​​absolute and total: Emotional and rational are the constants of the work of Vincenzo Parea.Rigorose in tune and reciprocity … ”
“… In color, Parea retraces the path of the world backwards, in the search for the trace and in the assertion of truth.It returns to the root of things and language.It is modern anabasis.The picture calls the observer and It establishes the dialogue, it will be possible to remember places and moments, to evoke memories and moods, and suggestions will emerge and the notes will recall the swing of the soul.The interlocutor will dialogue with the painting and Vincenzo Parea, in his secluded privacy , he will know, as he always believed, that color is life without end. ”

CLAUDIO RIZZI: Evanescence and nature, fraction and pulsation of color, from the catalog of the personal exhibition at the MAM, Museum of Modern Art of Gazoldo degli Ippoliti (Mantova) 2003

“… the color becomes language. he does not want to be read or interpreted. It is by itself almost monochromatic palette that projects you into a communication that goes beyond the picture and asks you to be there by letting the mind go inside and beyond the subject. (…) color, rigor, order lead you to new lines in which art and for it painting becomes pure research, an experience sublimated in color … .. ”

FRANCESCO MARINONE: the sublimated color, from the catalog of the personal exhibition in the hall of the castle “Litta” of Gambolò (Pavia), 2003

“With the painting of Vincenzo Parea we enter into a processing of light that transforms the scientific analysis of geometric components into spaces for contemplating the chromatic partitions. Built with the technical expertise of a chromatologist the image evokes other dimensions, does not close in observance of the structural principles of the form but openly declares its poetic nature. The charm of the monochrome color suggests rhythms and encroachments beyond the measure of the work, conceived as a pure sensitivity of light. I dream of new horizons through the impalpable resonances of matter. ”

CLAUDIO CERRITELLI, from the catalog of the exhibition “The enchantment of painting” paths of Italian art of the late twentieth century, Casa del Mantegna, Mantova 2004.

“[…] To put the color to the bare: it is in synthesis a process of purification of the color that has as its landing a high spiritual lyricism. Paraphrasing the acronym IKB (International Klein Blue) given by Klein himself to his monochrome paintings, one could speak for Parea of NPC (Naked Parea Color). Pure color, reduced to its primary essence without any tinsel […]”

PIER GIORGIO MOROSI: “The nude color of Parea” from the catalog of the personal exhibition at the Sala delle Colonne of the Town Hall of Corbetta (Milan), 2004.

“… More than transmitting optical information the color of Parea wants to invite you to understand what happens in the process of invention of light, in the infinite generation of tonal chords that are based on lines and not on lines, near tone, impalpable boundaries between one tone and the other of the same chromatic essence … ”

CLAUDIO CERRITELLI: emanation of color – light from the catalog of the 1972-2005 anthological exhibition, Monumental Complex of Santa Caterina, oratory of the Disciplinants Finalborgo of Finale Ligure (Savona). 2005

“(…) Vincenzo Parea, carries forward his thought in a continuous personal research, he challenges himself and he studies inwardly in a slow artistic evolution that has been in progress for over forty years (…)
His works can not be defined simply monochromatic because within the diameter or the perimeter of the table there are almost imperceptible movements of shades even if only one color (…)

FEDERICA RABAI: “Vincenzo Parea the artist of color” from the catalog of the personal exhibition at the Club House “Selva Alta”. Vigevano, 2007/08.

“(…) It avoids the instability that causes the presence of matter, sublimated song of the painting object. Parea dilutes the brushstroke, the imprint of the handicraft of the work so that nothing interrupts the idea of ​​the plastic organization where the soft, subtle, color play developed in varied contrasts, where the dominant color is presented and exhibited with such delicacy which seems misleading even to define it. It is not the polar contrasts, nor those of the colors or high saturations to which this artist refers, but the disturbing and musical contrasts of temperature, of such luminosity and of delicate movements that the color provides. It is then that the consequences of all that hiding of the pictorial sign are discovered: no reproduction of a painting by Parea can show what the support exhibits while from the plastic field it seems to emanate the light produced by an acute chromatic complementation. Each image should correspond to a sound vibration as it has light modulation. I believe that there, every painting supports the poetry of Vincenzo Parea, which creates a kind of polyphony in the conformation of each set exposed (…)

Prof. JULIO FLORES, from the catalog of the personal exhibition “Vincenzo Parea, Fatti Cromatici”

Promoted by Prof. Lucrecia Vega Gramunt director of the F.P.A.C. of the University of Bologna, seat of Buenos Aires, 2008.