Vladimir Tomasi's evolution as a painter has advanced through the commitment of a great deal of time. To illustrate it briefly, but coherently, means including a reference to his untiring creative generosity, and to his cultural atavism, oriented towards colour and nature and its inscrutable laws. Since true painters are born and not trained, Vladimir Tomasi knows how to depict some aspects of life and the ever new miracles which are realized in it. He has done this by means of eloquent chromatic messages which have enfused his canvasses with brilliant light, paying homage to the majestic silence of dawns and sunsets, mountain mists and sunlit noons in springtime. In this way, his landscapes are not purely academic representations in themselves of places or memories, but existential comments on the entire universe, partaking of its same harmony and assonance. Aldo Albani Analysis of the works of a painter such as Vladimir Tomasi makes one immediately think of the uncommon observational and investigative ability with which he is innately gifted. To take one example, we take great pleasure from certain of his muted chromatic solutions which pursue the approaches of light and shade in a rural atmosphere, whose clean and bracing touch finds him completely at ease. There is a symbiosis between their inter-related origins - the climatic starting point, his natural subject, and his desire to transform it as part of its reflected embodiment. Edmondo Astaldi Looking at the paintings of Vladimir Tomasi, we are not concious of his need to modify the reality, or to intervene in it. Instead of a desire for innovation, there is his clear choice of theme. Nothing is invented or created in his faithful, loving reproductions of landscapes; rather, everything is already there, available to those who have eyes to see. These are places and corners which we recognise immediately, which we have already seen, but which we have never had the time to bring to life: places linked to serene moments, when the view was clear enough to be observed with the open and marvelling mind of a child, able to contrast them with the frenetic and violent images of our time. Giuseppe Brondino Observing the landscapes of Tomasi, I had the sensation of finding myself in front of a painting as a friend, with debts to the expressive paint brushes of Enrico Bertegazzo, Pellizza da Volpedo and the researches of Ranzoni; painters who worked in a masterly fashion at the end of the 19th. Century.One vast canvas then takes me back to Togni, who came from the (1)…..valley, allowing me to give myself up to pleasurable reminiscence of the joyful art of Segantini. If these names recall that of Vladimir Tomasi, from the River Po valley, it may easily be inferred that beyond their personal language, the form of their message has some shared, equal character in the face of nature. This tends to show the actual objectivity of their interpretation, which, unravelled from the real, exalts its contributions in a colourful joy, whose vibrations finally transcend this same reality. They share a muted poetic vein in an epoch of earthquakes, terroristically polluted, trembling like our own; when the need for the figurative, in dimensions as well as in the over-riding idea to urge renewal, re-emerges even in certain artists less sensitive until recently to its appeals. Vladimir Tomasi's painting has the power to attract to itself the interest of not a few admirers, searching for something which at its roots does not leave us alone to face the knots which still bind us to a past which can never be renounced. Rudy De Cadaval Encountering the works of Vladimir Tomasi inevitably recalls the by now famous phrase of one of France's landscape painters of last century, who affirmed that nature is always delicate and requires from us a respect that is more than religious. Tomasi adheres as much as possible to this indisputible, sacrosanct principle, without taking away or adding anything to a clean corner of the world - of the little that remains clean of the world around us - of its countryside around Ferrara or its mountains of Turin. Vladimir Tomasi is recognisable by his sober choice and archaic organisation of the linear page, even if this is anything but easy. However, not without a guarded "concrete etching" as the French would say, the artist's hand renders with secure confidence and an objective description of reality, without laboured invention or any additions which do not succeed in poeticising, or rendering universal, his particular states of mind; his personal dialogues with the world which refracts its joys and emotions. Mauro Monteverdi Vladimir Tomasi is a genuine landscape artist who, while inspired by traditional canons, never renounces his particular stamp of originality. In each of his works, so anchored to the truth, the artists knows how to pluck the most intense instant, and render it by means of a vibrant, carefree detail. One can see, for instance, in that stupendous "Alpine landscape", the place where the foreground of fields glowing in the sunshine meets the dark background of the mountains where the storm is gathering; a jewel of visual lyricism which recalls the great themes of the 1800s. We cannot overlook that extremely original "crucifix" portrayed by means of an absolutely modern conception, rich with arcane symbolism: a crucifix standing out from a tangle of turbulent clouds in which one may pick out the faces of great Martyrs for the idea. This is a work which has deservedly obtained prizes and praise at a national and international level and which is evidence of the great versatility of its creator. Guido Ferrero In the artistic panorama, Vladimir Tomasi may be distinguished among the peaks: not only as a faithful recogniser of reality, but also for his capacity to transfigure natural visions into visions of the soul. The paintings of Vladimir Tomasi are memories, recalled with affection, of his desire to possess expanses of years and worlds, of those voices and presences which may seize us or be perceived here or there in the hidden recesses of a renewed sensitivity, always vigilant and attentive enough to render the canvasses of Tomasi a continual revelation. That Vladimir Tomasi's painting has had notable results is an evident fact, a certain statement that may be checked and confirmed by the evidence, in as much as he is able to recapture a part of us through the fascination of these canvasses; the truest part, which only an authentic artist manages to give us without surrendering or artificiality. Carlo Simonelli Looking closely at the works of Vladimir Tomasi, we see how he adapts his characters (the old highlander, the farmer harvesting potatoes, the boy tiring under the laden basket on his shoulders) to the landscape surrounding them, recalling archaic images which have almost disappeared by now from the hidden recesses of memory. This conveys to us a naive commotion, which is deep and almost religious. It derives from a real naturalistic pantheism; perpetually changeable skies from which radiance pours down, the air, the light, all the short-lived effects captured by the sensitivity of the artist to show us "his" concept of man. Elio Vivalda Fresh confirmation that Mr.Vladimir Tomasi is a many-sided artist, is the fact that he has also turned his interests towards publishing, writing a book whose contents are of a high quality, not only for the precise and punctual descriptions of the motivations which moved him to create the works described in it, but also for the many autographical testimonies from great and authoritative people who have declared their great respect and sympathy for his work.