Reviews from famous critics and art historians. From “The Floral Theme”,1996, Comed, Milano, edited by the critic C. Franza : “Master of great impact, intensity and skill, Borrello stands as one of the most outstanding personalities among the Italian portrait-painters...”
From the presentation of his personal exhibition at the Galleria Arteincornice,1996 catalogue, Turin, entitled ”A Sign Turning into Colour” by G.G.Massara:
A talented artist capable of using different techniques, he turns his signs into colour by means of silver, golden, titanium and platinum points and a special paper prepared on purpose. Thanks to a process of natural oxidation Borrello obtains amber-coloured tonalities... a modern means of expression that lets the artist create paintings which taste of antique.
From the same personal exhibition held in 1996 in Turin, “The Advencement of the line” by A. Mistrangelo:
Giuseppe Borrello’s artistic experience stands as something very different from the artistic expressions of the late Twentieth Century. His studies recall the extraordinary season of the Italian painting and are based on the importance of the line and the chiaroscuro, capable of creating fascinating figures such as charming maidens, children and naked women under the influence of the religious iconography.
Alessandra Montagnani, from “Corriere dell’Arte” of the 30th March 1996, Turin: “...The research that Borrello carries on is based on his desire for creating something new in the field of figurative arts by keeping a sound relationship with the past...”
In 1986 in the “General Catalogue of Modern Art” by Mondadori he was pointed out as being “the only artist who uses a particular tracery from a biro, even for works of noteworthy dimensions (cm.70 x cm.100)”. In 1979 the Guide “The Great Masters of the xx Century” presents him as the author of “masterly works of art”. The critic Antonio Oberti defines him as follows:
“Always in search of perfection and sublime, Giuseppe Borrello shows to be a poet of the spirit. He is an introspective and bashful artist who puts all his ability as an observer and interpreter on the limited space of the sheet or canvas, revealing an inner strenghth that leads him towards brighter and brighter zones. A wide spread and persistent brilliance seems to penetrate to his characters’ skin and through the architectures, alleviating and illuminating the shadows at the same time.”
Professor Raffaele Spinelli, who teaches History of the Art at the Catholic University of Perù, in 1976, ofter studying Borrello’s works commented as follows:
“The biro technique-which is completely new to me-is very interesting, but what i find even more interesting is the expression of the figures, revealing a close connection with the traditional drawing. I was particulary striked by the contrast with the subject-matters, which are very modern on the contrary, and reflect some aspects of our cultural context and civilized world.”