Critics

Many critics have written about him, including Anna Iozzino and Gioacchino Ruocco.

Anna Iozzino

Marco Valeri is an artist who has managed to find in the careful study of works of great masters of the past and in himself the reasons and incentives for its human and artistic maturation. The most obvious merits of his paintings are a fresh shade of colour based on tones sometimes hot, sometimes cold, but always harmonious, a poetic vitality that impregnates everything and a clarity of language that uses readable forms, immediate communication, foundation of an existential daily lived with love and participation both on individual and social level. The ecological problem passes in his works without violence and unrest, but in a submissive and calm way and perhaps because of this most convincing and persuasive, because the air, water, light, green meadows and hills, the sky, clouds, the distant horizons talks about an uncorrupted nature, often embellished or idealized, ideal gym where a man can live, work and love in harmony with himself and others. The works of this artist become reason and excuse for a dialogue with all people and to underline the texture of relationships that exist between nature and the beings of creation.

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Gioacchino Ruocco

The painting by Marco Valeri reveals a desire to be that goes beyond the most immediate meaning of the represented subject, to affirm the character of a deeply expressive artist. 
A painting that wants to appear more than to mean, a matter which strongly wants to occur and become a subject of the representation assuming the accidents that the technique determines or imposes as a sign of a character that is going increasingly to be identity. The works of this artist is not only a poetic sensitivity which is clear and found in endless understoods of tones and midtone that the using of spatula determines in the chromatic texture, but also a tense pictorial conscience, looking for a connotation that seems essential to the definition of their character. A landscape, then, the Valeri’s one, that has pictorial plot bumpy and strongly representative of a painting that wants to represent so overbearing, but equally rich in mood and sentiments of human and in alternative proposals to environmental degradation. A landscape that does not rule out the memory and retrieval of a fascinating historical credibility, traceable not only to the individual experience but also and especially to the viewer experience who, recognizing himself, rediscovers his emotions and the attitudes that have determined them.

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