Comments
" Renato de Almeida loves old houses, old streets, old towers, old cities, old landscapes. And, the same way he loves them a lot, he wants others do too so. And portrayed houses, streets, towers, cities, landscapes, without any innovative concern in his artistic mission.
He doesn't think of himself as an innovator or a renovator. He is simply an artist, that moved by the love for things and beings transforms that love in a pictorial donation, of radiant quality.
His pictures, where the light is constant in the subjects of his creative activity, reaffirm his sensibility, which feels younger, richer in force and coloring, capturing and fastening old houses, old streets, old towers, old cities, old landscapes. "
PASCHOAL CARLOS MAGNO
" Always following a personal style, which is pure but not naive. In the old streets of Ouro Preto, Renato de Almeida observes the rich texture of the walls tainted by the time, a way of expressing romanticaly the past of the urban scenery that silently stares the pedestrians nowadays. Renato extracts affectionately the colors that feed his work from the subtle tones that his eye unconsciously notices. The visual realism turns into color lyricism, that communicates everything that moved the artist."
FLÁVIO DE AQUINO
" The painting of Renato de Almeida doesn't admit innovative concerns, because he doesn't have interest in inventing a new quality. He paints what he wants and the way he wants. He abandons to others the successes of fashion, and locates himself inside of his own aesthetic communications. Renato has strong interest for problems of light and, as consequence of that, his local tone is the tone of the landscape glow under sunlight. In this impressionistic landscape , of marked and strong brushstrokes, that he reaches fulfilment. The masses clear-darkness are intentionally distributed, in search of that goal that constitutes the larger object of his creations.
In Renato de Almeida one can feel perfect agreement between the conceptual position and objetive accomplishment .
Perfect agreement among the man, the artist and the accomplished work. Therefore we do believe that his work must be observed and admired."
EDSON MOTTA
" He paints the way he feels; paintbrush, spatulas, inks, he uses them, not because the convenience of the distribution of the masses and color are imposed by rules, but because he, with his own feelings, is the assessor of such convenience. "
JOSÉ CLEMENTI