The art of Eugenio Magno is one of the most valid expressive updates of the great school of Neapolitan. In fact, although remaining devoted and affectionate to the manner of nineteenth-century landscape artists, Magno puts in his paintings items of innovation that can be read as a forward step, a further sequence inside this illustrious kind of painting tradition. Peering closely these views, squares, marinas, we can clearly perceive a coexistence of the expressionist component ,in the choice of colors and in the rendering of the subjects, with the Impressionist one in the hatch of compositional elements. Being in front of a painting of the Magno is clear synonym of the meeting - dialogue with a nature to which the artist gives us a bucolic dimension of absolute serenity , a nature never malicious, hostile but always full of news. There is not a preparatory design, there is no draft or a preliminary construction but the approach is that one spontaneous of the memory, it is the vision of a piece of memory, of an dear image that the author realizes fusing the real element of inspiration with genial additions of pure invention. We could then define the works of Eugenio Magno as glimpses of memory, pieces of one big universe in which the man is neither the master nor the protagonist but minor element, never find him in the foreground in fact, to be inconsistent, simple accessory of movement in compositions always perfectly balanced and stable. But if the human element is to the margins, everything is mechanical proof of our company is to be even absent as rejected out to not damage those slight atmospheres but extremely vital that are generated by a scaffold of color which is enhanced in the presence of a light and harmonious modeler.

Ilario D'Amato