The notion of ascent to a higher spiritual level is one of the most enduring and entrenched human dreams, a fantasy that not only has created an intricate mesh of relationships and associations pertinent to all times and cultures, but also enlightened our concerns and thoughts about the ultimate meaning of life. Delia Solari’s works recreate the old ideal of perfection through a powerful and convincing aesthetic language. Her installations consist of abstract geometrical figures that resolve around the symmetry and balance we long for, and result in lucid compositions illuminated by sparkling colors that codify mankind’s latent ambivalent nature, often oscillating between the consternation of war and terrorism, and the hope for peace and harmony.
The skyscrapers and the climbing impulse, as well as the symbolic sculpture, merge in our minds with the aura arising from ancient pyramids, portals and obelisks, mysterious temples surrounded by a subtle and sealed cosmic calling. Deli Solari’s work has been nominated for the 2007 art TV Awards.

Daniel Pérez
“The Golden Book of Argentine Art”
Buenos Aires, november 2007

Esthetic statements
Undoubtedly, Delia Solari is in the vanguard of abstract geometric art. In this globalized world, where banality proliferates, she demonstrates through her paintings the importance of demarcations in art.
Plurality and color, plastic structure, tangential lines that come together and cut across her vibrant and joyful works, pay homage to the imminent explosion of creation.
Instead of a passing by conformity, her reinvigorated spirit fuses with a presence that attempts to go beyond.
This prolongation, this vigilance, finds her, has already found her, in her emotional register that helps shake and liberate the deepest layers of humanity.
Recently, Delia Solari has concretized six paintings, “Towards light”, and an impressive sculpture “Towards Harmony” in stainless steel, made for New York City’s Javits Convention Center.

Buenos Aires, June 2007

“What a richness and variety in the subjects tackled! From the most clever combinations of geometric figures until relations between music and painting, from the light troubles until the resonance and harmony of colors, since the tenderness and the sensitive aspect of the images till the vision of a cosmic movement, everything has been treated with intelligence, with strength and fervour in the dialog of Delia Solari with the universe.”

Honorary Professor of History of Art
International Association of Art Critics
Society of People of Letters, Writers’ Union
French Pen Club International
Rumanian-American Arts and Sciences Academy
Brancusi International Company
Paris-France-February 1990

“Architecture of forms in exact volumes. Delia Solari demonstrates to be a qualified colorist, who knows that beautifying the colours intensely, can become a bait: for her work method she does not respond to the need of respecting the severity of the structures. Treated in tonal gamuts, colours seem to melt, amalgamate better and combine in a clear harmony of light, as being sieved, emerging from the interior of the painting itself. Thus modulated, thus unified and thanks to wise transparencies, colours are synonymous of perfect chords while the flooding light adds worth to them. Thus, the work of Delia Solari reaches plenitude, almost mystic serenity, like the one that flows from the vitraux of the cathedrals and transport us beyond the overwhelming pictorial magic.”

Art Critic. Saint Paul de Vence. France.
April, 1987

“…Argentine painter, Delia Solari. Her paintings at the O.E.A abstract the reality of faint impressions of light and shadows learned from the great classics, but her sense of linearity and geometry situates her as a follower of Cubism. Solari contributes with subtlety of colour, since she demonstrates to follow a careful study of the chromatic palette, which is based on a great richness of colours and nuances. Her work reflects an analytical and cautious mind, it feels like hiding a brightness that, being latent and throbbing behind the elements, become evident. She creates pressure and structure in the canvas, integrating the composition of colours in a balance of exquisite joy.”

P.O.BOX 43824. Washington D.C
September 4, 1987

“Supported by a lucid recognition of the fundaments in which contemporary painting is based – she quotes among her favorites Rembrandt, Leonardo Da Vinci, Turner, Monet, Picasso, Braque and Kandinsky -, this painter resolves her images in the two dimensional reality of art space avoiding transgression of the strict limits in her abstract proposal. It is a refined code of lineal rhythms where the lines and the curves are harmonically structured, integrating a rich gamut of tones, among which the yellows, ochres, blues and greens predominate. The extended game of lineal rhythms, sustain and integrate the variety of tonal timbres. Those are wisely calibrated and unified by the transparencies and by a sense of the light that reminds the gothic vitraux, shaping images that can be defined in two words: musicality and energy…”

Actualidad en el Arte Magazine, 1988

“Exists, besides, a mysticism of silence. An overwhelming poetry. It is important to notice that the seemingly coldness that moves the theory, finds in the painter the way out towards her own vitality of light. By means of a brush that is soft but not honeyed, she networks rich zones, generally with a prevalence of yellow that attenuates or pours out as a kaleidoscope. It makes use of the purely formal-tactile to discover the fantasy, with a clear image of the planes that, decanted by their technical relation, start shaping the theme.
Delicate performance that connects with its usefulness behind the scenes of scenography knowing how to remain, expectantly, in the limiting shape, those unseen contours of lights, shadows and ambiguous colours. This harmony is absolutely reasoning, isn’t leaving anything unsolved. Moreover, it is stimulating her vivid imagination.
Geometry meets in Mrs. Delia Solari its definite aspects of how she can adjust herself to its structure with freedom, without any audacity and with a total responsible criterion on the pictorial work”

Montevideo, Sunday, May 22nd of 1983
“El Día” Newspaper

“While increasing her impermeability to formal conviction, Delia Solari discovers that life, real illuminated life, is the one that nests in every moment of the artist, and thus emerges her abstractionist stage, strongly active in her recent production.
This is the result of the comprehension that art, in all its manifestations, must be a witness of its time and, consequently time demands a rupture with the past. Thereby, Delia Solari dives in the revision of her plastic language to build a new one, rejecting the easiness, avoiding with courage alien modalities, deepening in research. From all of these, a new artist’s palette is born.
This palette is a universe of light and colour forms, throughout all the artist’s work, the cornerstone of her production; but presently this light and this coloring is translated into a new language, a new pictorial style which, neither despising nor moving away too much from realism, freely breaks her obedience to it and incorporates it in a personal way to abstraction, and this is it, nowadays, the crucible for the forging of her all work.”

“El Día” Newspaper
Montevideo-Uruguay 1985

“The Embassy Gallery, run by Gina García, wisely continues presenting exhibitions of important Latin American painters.
The work of the argentine artist Delia Solari was a refreshing chapter, some weeks ago; a meritorious example associating the purely figurative with the architectural elements, playing with visages, landscapes and still-lives in an original and skillful composition. However, her major accomplishment is the particular use of light and colour, that confers to the work a peculiar brightness and a character that is joyful and, at the same time, decorative.”

“Las Américas” Newspaper
Miami-Florida 1990

“For an artist, to write a book about the moving and motivating reasons of her own work, is an act of reflection and matureness. It means to turn that universe of reasons leading to creation into a language different from the one of her own expressiveness. In this case, Delia Solari not only reveals her reflexive attitude facing the artistic work from which she is the protagonist, but she also makes known her vision of art in general, inserted in the social reality and in a world of creating values.
As being herself a representative of Geometric Abstraction, she also deepens in this aesthetic line. Concepts about structure, colour, creativity, rationality and sensitivity in painting, as well as the bonds between herself and music, comprise stages in the reading of this book, faultless introduced by the leading publisher Ediciones Gaglianone.”

Clarín Newspaper 1989

“With the development of her Aesthetic Statements, Delia Solari has produced a valuable treatise, both didactic and testimonial, that expresses the process of an experience particularly difficult and complex: the implicit or explicit protagonism of geometry in the artistic creation and in the statement of a visual-plastic reality. The artist exposes, analyzes from the very beginnings what she calls ‘a personal theory of the artistic fact’ based in her own experience. This accounts for the unquestionable value of her theory; the significance of its contribution as a system, as a method to meet the need to reveal a reality governed by thinking, as well as by reasoning, intelligence and rationality, thus enriching, with this useful and beautiful book, the whole world of art.”

from the Preface of ‘Aesthetic Statements’ 1988

“…Delia Solari releases her creative imagination to other chromatic and luminous proposals. A lyric sight of architectonic intensity, combined with a lineal dynamics and a bright weave texture…in a more liberal language, far from strict formal accuracies. There is a positive change in her work that leads to create with matter an exploration of strong visual and tactile impact. The light, previously screened and veiled to transparencies, emerges today from the core of the coloured material and the thickness of paint, thereby transform itself in a reflecting object of endless expansion.
Space is dynamic, regulated by colour and traversed by a lineal force that plays to support a floating and multidimensional structure. This pictorial period has “a vision of a cosmic movement” quoting Ionel Jianou, her art critic and prologue writer. It is in the need of order and equilibrium where the artist perceives and projects her inner impulse: “Vitality, fervour of the creative function of light”, manifests the art critic. In this exhibition, we may assert that it is deeply felt the artist’s clear sense of being subject to the rules designed by her spontaneous creative capacity. To the highest and unusual levels, this outstanding creative capacity is exalted now, within the frame of her whole artistic production”

Clarín Newspaper 1991

“A remarkable change is noticed in the evolutionary process accomplished by Delia Solari, whose paintings are being exhibited at Soudan Gallery, in 964, Arenales Street, Buenos Aires. The artist keeps the geometric structure, not the closed forms, which mark the completion of its contour. A cautious usage of color helped to release the design and to produce canvas full of sensitivity. She keeps her style of geometric non figurative: now understood as an explicit and implicit system of composition, interrelating the different parts and dynamically interpenetrating depth and shape.”

La Nación Newspaper 1991

“From a geometric painting, where some works might have only been studies about color and light-effects, Solari has reached, in this moment of her career, more loosening proposals. We rejoice her evident achievements. The painter asserts a geometric and theoretic flowing, with a huge and interesting technical information, where the ‘informal’ may be found as well. Her style will make Solari find what she still intends to transmit; we are fully convinced of this. She should do it.”

La Prensa Newspaper (1991)

“What D. Solari has essentially been working in, is what constitutes the greatest challenge for every plastic artist: light. And she was able to achieve this turning it, gradually, into the essence of her paintings; as well as to investigate light even in its metaphysical implications. She embraces a style of absolute deprival of expressive means, conferring her paintings more and more eloquence. It is as if we were invoking spiritualization, naturally dazzling and emerging as a capital, blessed and attractive exhibition. Going slowly over the exposed work we may also notice, as a consequence of this presence of disemboweled and naked light, the way how the painter has been rendering more importance to colours. Mainly in her last compositions –very well balanced as far as the paintings are concerned–she adheres to captivating colors, as if burning from their own depths.”

El Cronista Comercial Newspaper (1990)

“Delia Solari: At Velázquez, Maipú 932, this exhibition of still-life flowers, fruits, portraits, figures and landscapes (in oil) by Delia Solari is realized in luminous transparencies of light. Especially successful is a large painting “En Familia”, where she has coordinated a group of figures abstractly, using lemon yellows, reds, greens and browns. The triangle of light bathing the central figures is a prism of golds and light greens radiating upon and diluting the figures to left and right. The painting is pure poetry and probably the loveliest in the show. It was realized with much love, thought and effort. Delia has a delicate flowing feeling in the flowers and landscapes. Her use of corals and browns is exquisite. In all of her works there is sensation of deep inner peace and happiness.”

Buenos Aires Herald Newspaper (1984)

“There are several exhibitions worth seeing in the Socorro Church area. Amongst them we have Delia Solari’s. I hadn’t care too much about this artist’s previous output (which doesn’t mean I brand it as bad. I just failed to be moved by it, to get the message) but in her present one woman show (Soudan, 960 Arenales Street) she has come up with a series of interesting, dynamic and vigorously painted works. She cleverly combines straight lines, angles, planes and transparencies with which she creates unreal skyscraper townscapes, which could also be taken for stained glass windows for a church in space. The colours are vivid but, for this writer at least, she overdose the use of browns, which seem misplaced in the kind of design she makes.”

Buenos Aires Herald Newspaper (1991)

“Delia Solari denominates her own style in painting ‘Sensitive Planimetric Structuralism’, being its distinctive quality a formal and well-structured creation. A creation represented by organized arrangements of geometric planes, harmonizing with emotional and sensitive treatment of colour. Yellows, acid greens, blues and violets are masterly displayed in her spatial games and dynamic structures, without any trace of rigid and cold lines of the Absolute Geometry. Her passion for music led her to elaborate a symbolism representing some aspects of music, which proves to be a challenge with great variety of assumptions.
At the inauguration of the Soudan Gallery Painting Exhibition –closing on May 14th– she simultaneously presented her book “Aesthetic Statements” where she sets up a full description of her fundamental inner process as well as her aesthetic aims. Magnificently edited by Gaglianone Art Publishing and prefaced by Osiris Chierico, it is a real treaty of geometric abstraction based on the conclusions and principles Delia Solari has attained and applied throughout her creative work. The different items are richly illustrated, enhancing the potentially didactic nature of the book.”

Ámbito Financiero Newspaper (1989)

“All of them may have led her to this outstanding creation:
A singular experience beyond what can be demonstrated with the five physical senses, but appealing to them as well.
Her continuous quest, shown by gradual and improving changes. Her adherence to form, not vague but subtly suggested instead of strictly expressed.
And colour –a directness of utterance as characteristic of herself– becomes an element of sound quality.
Colour becomes a sense that flows over substance in a slight but accurate visual poetry: very sweet but not fragile at all, and wide open to light, air, even to so-called clarity of shadow. All of these bring about the creation of paintings which deeply represent a frame of mind, applying a boundless and universal language– on certain occasions even definitely metaphysical.”

El Cronista Comercial Newspaper (1989)

Delia Solari and the Music of the Living Light

By Morgan Powell
The geometric rationality of theory serves a quest for universal meaning communicated on the canvas primarily by Solari’s dialogue with this life-giving light, a light that seems to pour out of the painting, illuminating it with the multifaceted and multicolored brilliance of a child’s kaleidoscope. In this tension between a childlike fascination with an infinite variation of forms and colours and the strict control of a geometrically, almost mathematically conceived composition Solari seeks her theme, the unity of a rational and a sensual reality.
Delia Solari elevated this tension to the order of a method as early as 1989, with the publication of Aesthetic Statements (Ediciones Gaglianone), her own manifesto on the art of painting. There she acknowledges her full debt to the tradition of Mondrian, Kandinski and Klee, and offers her interpretation of the dizzying progression of twentieth-century artistic movements from which she sees her work emerging: a drastic oscillation between two poles as the artist in his new creative freedom explores the extremes of the sensual-subjective and the geometric-objective. It is characteristic of Solari’s highly intellectual approach that she devises a ponderous terminology to express these opposed directions in her own work, dividing it into “sensitive” and “rational planimetric structuralism.” But the book shows Solari to be an articulate and an expressive writer, an artist fully capable of putting her pictorial work, its foundations as well as its aspirations, into words.
All the more eloquent, then, the refusal of language, whether verbal or figural, that her work represents. There is undeniable commitment and conviction shimmering from behind the translucent planes of her compositions, an urgent desire to communicate an inner experience that is perhaps the most immediately arresting feature of her work; it is also the feature that puts her in a class apart from contemporaries and predecessors of the constructivist and other formally geometric schools of abstract painting.
Solari’s oeuvre documents a lifelong pursuit of the idea that essentially human and intrinsically personal statements can be made with only line, color and light-much as a composer evokes an entire spectrum of human emotions and even narrative progressions through sound, rhythm and acoustic volume alone. The analogy with music is by no means the invention of this critic, nor is it merely a reflection of Solari’s avowed affection for the thought and work of Vasili Kandinski – whom she quotes when she writes, “Music has always been the art which has used its own means to express the artist´s internal life and to create a life of its own, and not to represent or reproduce natural phenomena.” Music is rather a guiding principle and foundational experience of this artist’s life and art: first given a musical education, it was only as an adult and a mother than Solari found her artistic vocation in painting. In her studio she works to the continuous accompaniment of music; it provides her with both a “sensitive” and a “rational” source of inspiration. The language of painting is not a figural language for Solari, but rather a musical language, the language of contrasts and harmonies that exists on a level of human perception that is presumed universal. Whether this universal level exists or not is not her question; her life’s work is instead testimony to the power of believing that it does; the creative force and vigor of her paintings are convincing witnesses in themselves.
These paintings intimate a “music of the spheres” captured by the inner ear of the artist and transformed into space, color and light; they whisper of a shimmering, tinkling mathematical unity that pervades and illuminates the chaos of human experience – but neither negates nor obviates it. Every painting has an unmistakable center of gravity that is most often also its source of light, a light that emanates from beyond the superimposed planes of color and appears to produce the painting itself: reflected and refracted, bouncing and rebounding from one plane to the next, it produces translucent colors in complementary hues along carefully controlled tonal scales. This light is the protagonist of the painting, its true creator. It reveals the dialogue between the artist and her inspiration, and through the refusal, inherent in her geometric forms, of all particularity, delivers the suggestion of a transcendent creator that is not, finally, a statement, but a fact of the viewer’ s experience of the painting itself.
Finally then, Solari’s endlessly exuberant variation on the geometric coupling of light and color becomes something like a subtle argument for the existence of God. In this way, quizzically, if not paradoxically, Solari shows us where the trajectory of contemporary abstract art reaches back beyond the mimetic revolution of the Renaissance to the spiritual representation of the medieval world. Her paintings are not windows in the sense of the Renaissance theoretician of perspective, Alberti illusory openings on the phenomenal world -, but rather in the opposed sense of the stained glass of the medieval cathedral: they are not openings, but screens. They mediate an infinite depth and Light that lies beyond their plane of existence. Their color and line serves to refract and filter a pure light, a divine light, such that it becomes perceptible to human eyes. Such “windows” communicate the primary refraction of the unknowable into form and sensory experience, capturing the basic elements universal to that experience: line, plane, color, and depth; while the combination of these in tum suggests the tactile and the olfactory, the most content-specific of our sensory impressions. Solari’s windows, her “planimetric structuralist compositions”, are much akin to visual realizations of the essence of the thought of Thomas Aquinas, and at the same time unmistakably permeated with the visual idiom of our nascent third millennium. But this eloquent female voice in the predominantly male world of abstract art displays a much stronger affinity still with a different voice of the middle Ages: that of Hildegard of Bingen. The prolific oeuvre of the “Sibyl of the Rhine,” too, was produced out of inner commitment to serve as the musical instrument, or “voice of the living light.” She recorded her experiences in voluminous treatises shaped by a complex, visually laden language. But like Delia Solari she was no pure spiritualist. The visionary, theologian, composer, physician – and possibly even painter – was no less multi-faceted and no less fascinated by the phenomenal world than was the quintessential “Renaissance man,” Leonardo da Vinci. It is fitting, then, that Solari’s paintings seem to offer an expression in visual form of Hildegard’s extended mystical – and musical – dialogue. Hildegard is best known today not for the Latin treatises of her own highly individual brand of theology, but rather for her no less original expression in the universal language of music. Thus is suggested, finally, a distinctly appropriate title for the oeuvre of her twenty-first century successor: Delia Solari’s dialogue with the music of the Living Light.

Morgan Powell, Pb.D., is an historian of visual and verbal media and
a contributing critic to both the European and American press.

“Delia Solari’s astounding paintings revolve around a definite repertoire displayed in multiple versions. Geometrical, colorful planes seem to radiate freely. These shifting aesthetic elements add to the primordial essence and underline the relationship between emotion and reflection.
The superb work shown here reveals a remarkable strength focused on light and transverse strips. Light, apparently centered on a quadrangle, stands out from the background generating dynamism and animation. This core arises from a dense darkness that accentuates its energy.
Although several components strive to prevail, their hues change and suggest an increasing depth as they interweave. This “Warm Symphony” conveys a melodious sentimental tune that reverberates along a unique composition.”

Julio Sapollnik
“The Argentine Art Towards World”
Institutional Editons. 2006

Towards Light
The monumental assemblage featured by Delia Solari proposes a new paradigm of co-existence. Towards Light is a polyptych comprised of ten large-scale paintings, each of them bearing a more than eloquent title: Construction, De-construction, Rebirth, Reflections, Union (I, II, III, and IV) and Impasse (I and II). The figurative anecdote may allude to a concrete historical event, but at the same time it transcends it. In this work, Delia displays the sequence of a vital cycle that appears to rule the lives of men, nations, and the universe. Everything that man builds at different scales, whether it is a house, a business, a family, or a great city, seems to have a peak moment, an insurmountable summit like the one reached by the mountain climber. The micro and macrocosm have proved to be dynamic – in quantum physics as much as in oriental mysticism – and consequently, no situation is permanent and everything is cyclic. Sometimes, part of the process is understood as destruction and turns out to be painful; on other occasions, it may be perceived as a crisis, that is, an opportunity for change. After a catastrophe there follows a Rebirth, as when a volcano erupts and later lava fertilizes the mountain slopes. Then reflection on the event may follow; one may shed prejudices and a priori and try to grasp the true fabric of events. In Delia´s work there are dark and luminous aspects; the artist feels the pain of others as if it were her own because she is everyone, and from that somber abyss she draws the strength to soar above the circumstances. Pain is a katabasis –a descent to hell– for the hero who must continue his journey along the path to happiness. But the hero is not alone; he has companions and adversaries, friends that betray him and enemies that forge alliances with him. Life in a community, be it family, neighborhood, city or nation, has its sharp edges, and it demands the practice of tolerance and respect for the other, the one who is different. This is the proposal featured by the artist through her sculpture Towards Harmony, executed in stainless steel, a grandiose vertical assemblage symbolizing stages that starts out from the autonomy of the individual (the base), ascends by way of modules with varying degrees of complexity (life in a community), finally to smooth rugged edges (disputes) and arrive at the perfectly harmonious form, the sphere. To be in harmony with oneself in order to understand others and to be at peace with humankind in order to become one with the Totality is the underlying declaration of principles in this sculpture.
The paintings and the sculpture created by Delia Solari constitute an aspiration to a new way of living among human beings. Between the larger canvases the artist has placed narrower ones that function as links; it is not by chance that each of these is titled Union. Delia Solari has created a pictorial and sculptural assemblage as a proposal to rethink the universe and humanity as an infinite fabric woven by a mysterious ´ineffable´ that we metaphorically term ´Light´.

Julio Sánchez
History of Art Graduate, Art Critic, Independent curator and
University Teacher.

The notion of ascent to a higher spiritual level is one of the most enduring and entrenched human dreams, a fantasy that not only has created an intricate mesh of relationships and associations pertinent to all times and cultures, but also enlightened our concerns and thoughts about the ultimate meaning of life. Delia Solari’s works recreate the old ideal of perfection through a powerful and convincing aesthetic language. Her installations consist of abstract geometrical figures that resolve around the symmetry and balance we long for, and result in lucid compositions illuminated by sparkling colors that codify mankind’s latent ambivalent nature, often oscillating between the consternation of war and terrorism, and the hope for peace and harmony.
The skyscrapers and the climbing impulse, as well as the symbolic sculpture, merge in our minds with the aura arising from ancient pyramids, portals and obelisks, mysterious temples surrounded by a subtle and sealed cosmic calling. Delia Solari’s work has been nominated for the 2007 art TV Awards.

Daniel Pérez
“The Golden Book of Argentine Art”
Institutional Editions. 2007

It is not uncommon for Argentine artists to earn awards abroad. So it should come as no Surprise to learn that Delia Solari who had •been chosen as our representative in the Fine Arts Award in the New York ArtExpo, should have won the prize. After all, Ms. Solari as a long and distinguished career to back her up.
The surprise comes for the works that moved the jury to give the award to Hacia la Luz (Towards Light). It is a polypitch formed by six large, shimmering paintings made in the memory of the 9/11 tragedy. In them Solari shows her mastery of the neo geometric figurations that has earned her praise but in her country and abroad. Where she has won important prizes in Europe, Asia, and the Americas, but the present work are tinged with a yearning spirituality that is not typical of her previous, much more dramatic and assertive works. The same feeling radicates from an accompanying sculpture, a tower of steel crowned with a silvery orb that seems a beacon to light the way to redemption.

Alfredo Cernadas
Herald Tribune
Buenos Aires, Argentina

Expressionism, the aesthetic movement that resorts to emphasis and distortion to convey emotion, began in the early 20th century in northern Europe, especially in Germany. A few years later, Russian artists introduced the use of geometric shapes on flat backgrounds and accentuated the spiritual qualities of pure forms. Although Delia Solari usually favors abstract art, frequently explores other perspectives, like the so-called Geometric expressionism, exemplified by the flawless painting shown here, a work that easily blends the aforementioned styles.
This superb image reveals an utterly original and balanced design, aided by lively, impeccable rectangles, squares and triangles that acting as building blocks, construct a beautiful composition.
An appropriate combination of ochre and yellow, accompanied by intelligent blue touches not only add vitality and beauty to an already impressive picture, but also prove Delia Solari’s gift, sound knowledge and expertise.

César Magrini, 2008

Delia Solari’s striking works reveal a symphonic harmony that easily resolves opposite elements through wise decisions. Thanks to a masterly dynamic interplay, her unique compositions consist of countless hues intended to emphasize the supremacy of light, the main visual component.
The interesting painting shown here depicts powerful, lively beams that suddenly burst into the dense darkness and then seem to go back to the primary source, thus creating a mirror-like image. The colorful surfaces appear to touch, blend, split, overlap and intersect, while the pattern reproduces itself, varying in place and size, to integrate the heterogeneous shapes. As a result and regardless of the original gleam, which is never approached, Delia Solari’s geometry transcends all kinds of abstract or representative meanings, turning into a purely spiritual movement that keeps a secret able to stimulate the vibrating soul. As Kandinsky has pointed out, “Sensibility is always the last resort.”

Mara De Giovanni
Art Critic
December 2009

“Countless accurate brushstrokes build the appealing image devised by Delia Solari. The lively overlapping lines and surfaces effortlessly create a superb symphony of colors. It is worth mentioning that abstract art has on important message for those willing to approach the modern world characterized by painstaking work and technical improvement.
Guidelines appear, proliferate, come and go, captured by the sparkling hues that the gifted artist depicts on the canvas.
Superimposed shapes emphasize the extremely belligerent pigments that invade all corners in a remarkable interplay.
Looking at Delia Solari’s interesting painting we sense the presence of many hidden workers perched on an invisible scaffolding, hammer in hand, attempting to construct a glittering metropolis that lives by night and dreams about reaching the top. Thus, a great deal of steel, concrete and glass become a remarkable composition, Delia Solari is undoubtedly a talented artist that deserves our praise.”

Prof. Maria Tamara Revythis
Art Critic
From the book “El Presente del Arte Argentino, sus referentes”
December 2010

Artist Delia Solari is a great career in Argentina with geometric abstraction. This work is part of a style that it categorized Solari-reflecting on their own practice, as “Sensitive Planimetric structuralism”, which is based on the geometric organization planes with an anchor on the emotional, given the color treatment. “Renaissance” is a large canvas that combines and displays that it preaches.
From the command that provides a solid compositional structure from diagonal and abrupt dynamic crosscuts, color is the protagonist who deploys space game. That is, it provided planes and depth, and generate different sensations caused by intense chromatic vibrations. Not too many colors it uses, mainly blue and yellow, which are what make a guideline from their degree of saturation, and forms the green way exhaust works and visual relief against such primary energy. Delia Solari painting exhaustively explores another element that is light. In his works we find a central luminous nuclear focus that jealously guards the vitality of the composition.

                                                                                                            Cecilia Arthagnan
Art Criticism about “Renaissance”
In the book “The Chosen Argentine Art” 2011

Delia Solari has visited many countries and her creations are regularly shown in Argentina and Uruguay, where her prolific work is well known as it blends and extensive art tradition with notable movements like Joaquin Torres Garcia constructivist school.  She also exhibits her pictures abroad together with large installations, stemming from her indefatigable aesthetic search. The gifted Delia Solari approaches many different subjects with the same wisdom. Her abstract neocubist images are characterized by their faultless chromatic balance and striking composition; in this sense, she endorses George Braque’s works saying that “I love the rule that correct emotion”. Her last works, less rational and more sensible, are very attractive since the effect of light is reminiscent of the sparkle that establish that Emilio Pettoruti as a master. Surfaces result from juxtaposition and superposition, as well as the depiction all elements. In short Delia Solari’s paintings reveals orderliness, symmetry appropriate colors and flawless brightness.

Rosa Faccaro
Art Critic
About the work “Floral Symphony” From the Book “Leading
Exponents of Argentine Art” 2012

At Velazquez Gallery (Maipú 932), a display of subtlety, of inner world made of faint sensations, of silent music, of fine and delicate poetry. It is that of Delia Solari, who with her paintings works out a universe of sensations that multiply themselves in extremely delicate velatures, in a continually propitious, wrapping atmosphere of intense and, at the same time, delayed suggestion, while simultaneously gathering round a critical problem that of light- her mast covetting concern, which she always solves instinctively and certainly in buffered glares. With chromatic gradations which softly weaken shapes, yet without becoming lost in complete abstraction, and in fact trending to a synthesis rich in its implications, the artist establishes her impressions, subjective and warm, of a landscape, of an interior, of a glass of water, of a nude. It is the rhythm of the stroke, never definitive, neither confusing who builds and balances the composition; echoes, murmurs, resonances of most clearness are translated into the tonal scales subtly used by Delia Solari, all linked, and with the result, on each canvas exhibited, of an unusual sensitivity, of a self language, calm and mature, and of aesthetical qualities which have already reached their deepest plenitude.

Cronista Comercial Newspaper

Light and its possibilities, a theme so much appealing to Delia Solari renders her a great admirer of Rembrandt, on the one hand, and of impressionists, on the other. She insistently refers to the theme of Maternity for which she chooses stylized simplicity in lines, even geometry when she proposes her esoteric 21st century houses, but she reverts to an almost nostalgic, atemporal romanticism whenever she paints flowers. Poetry of shape and colour, in which the painter tries to recreate nature, viewing it under her own particular rules. «I believe, with Kandinsky, that the painter is inspired by an object; when transferring it to the canvas, he gets away from it, giving birth to a new object which is the one truly felt by him. Thus, it turns into an excuse in the creation of the work of art, which, definitively, is the means of evasion, of freedom in the communication which afterwards will be established in the future dialogue between the picture and the spectator.

Diario «El Día» Uruguay
Enero 1980

«Delia Solari, studious, hard-working, tenacious in the research of pictorial techniques, gets through her elaborate creations the environment and the atmosphere ideal for her maternities and her flowers. Those maternities escaping from the circumstantial anecdote which lead, as from a surrounding of luminic transparencies, to the spiritualization of those beings without identity, (just essence) property of the realm of the undying. Thus her suggestive canvas, free from superfluity, with all the feminine sensitivity and with all the firmness of the artist who knows what she wants, and what is even more, knows how to tell it…
… Delia Solari fills her concerns with mothers, children, flowers, .ex pressed, modified, with the revealing gradations of light wisely handled in the desire to idealize, to enhance, to interpret a reality superior to the one occurring outside the painting…
… Thanks for all the intimately yours you leave us in your works.

August, 1980

We had occasion to get in touch with her work in the «Argentine artist» exhibition recently held in the Vaz Ferreira Gallery (Auditorium). In the little room, we met small works. But polished enough in their technique so as to personify the painter, who uses cuts of planes and of passages, which she joins by means of tonal grading, interweaving a composition whose object is to ratify the values of light. They are pictures of landscapes, of figures and of static subjects in which the artist is able to develop her poetry in warm yellows, almost fading down to white in their depured chromatic essence.
Delia Solari is a painter who designs her themes in the delicate range of beautiful chords, who does not establish, by means of contours, emphatic accentuation, but rather looks for the definition of light in its own consequences of drawing.


«Such expressive forms do not escape from Delia Solari’s insertion into a well defined structure of pure geometric planes. Colour, following perhaps Petoruti’s alternative, denotes in the «still life» a duly felt relation of tones, based on the opposition of warm and cola colours, by means of an accurate as well as clear execution»

«El dia» Newspaper
Montevideo – Uruguay

«We had the occasion of getting in touch with her work in the «Argentine artists» exhibition recently held in the Vaz Ferreira Gallery (Auditorium). In the room we met small works. But enough polished in their technique so as to personify the painter, who uses cuts of planes and of passages which she joins by means of tonal grading, interweaving a com position whose object is to ratify the values of light. They are pictures of landscapes, of figures and of static themes, where the artist is able to develop such poems in warm yellows, almost reaching to white in its depured chromatic essence.
Delia Solari is a painter who designs her themes in the delicate range of beautiful chords. Who does not establish, by means of contours, emphatic accentuation, but rather looks for the definition of light in its own consequences of drawing»…

montevideo – Uruguay
El Día Newspaper

When a painter dominates the technical methods used and reflected by Delia Solari in most of her works, it is extremely difficult for her to escape from the cold automatization mechanism of a command which may become an easy source of inexhaustible production, even despite the unique language with strict wisdom she uses. This would be the superficial position though not in transcendent, which could be extracted from the hasty reading of her compositions. The change is remarkable, however, since we feel the existence of a much deeper world, beyond the apparent balance behind the search for a formal beauty. Delia Solari does not hide the defiance or the boldness of the permanent challenge in the faithful representation of her abstracting kaleidoscope or in the warmth of still lives or maternities. Thus we delve in the «secrets», going beyond that insinuated as formal and sober perfectionism and that allows us to go through her images and uncover them verifying that the unquestionable craft was only another value of the painter. Her works breathe, vibrate, enjoy with a warmly expressive projection, even within that atmosphere of certain unreality achieved by Delia Solari in the dual simultaneity of tones and planes. Such is the fantasy world the artist resorts to and the magic element takes possession of the whole, as a protagonist, embodied in the characteristic and personal brightness of its crystallizations. Delia Solari keeps in «the ellipsis» of her geometric abstract constructions a warm mystery which lives with thought, fantasy, tenderness, sublimating the pictorical feeling she shares, the expressive delight with the contemplator.

Arte al Día Magazine

DELIA SOLARI lives in the Federal Capital. For the first time she exhibits in our Province and has accepted the invitation from the «Dr. Pedro E. Martinez» Fine Art Provincial Museum, which welcomes her today, receiving her with sincere, deep friendly feeling. DELIA SOLARI endows her themes with poetry; her fine sensitivity brightness them. All things have individuality, they all have character and they all have a meaning. It is in their shape and in the reason of their shape. Getting to the essence of things is to make them expressive; they always represent their own spirit.
Art consists in showing us the quality of such spirit. That is what Delia Solari’s work evidences, on revealing us how she turns every perceptive act in deep and noble expressive emotion. 
An exhibition of her works, always conveying an affirmative act, faces us with a nobly well-disposed spirit. It is seen in that attitude; it is felt vibrating in her highest tension. It is reconstituted in each emotion, in the specific individuality of each image captivated by her retina. It is an intense life that of this artist, who alternating the duties of maternity with her passion for painting, carries out the prodigy of simultaneously going along the two paths fate has traced for her. César Magrini has said that «in her paintings there is calm wisdom, slow and sure formation, or to put it in more accurate terms, mature technique, which fortunately is difficult to discover at first sight».
In this evening belonging to her, when this House opens its arms wide to receive her, when we are astonished by the suggestions of her subtle strokes, through them she confesses her dreams and helps us to open our imagination to grasp them and to understand how much love, how much tenderness she spreads in her attempt to show us, openly, all that abundance of experiences vibrating in her young soul.

14 Abril 1982

In Delia Solari’s work, the constructive vision of reality becomes the paradigm of her expression. As regards her pictorial conceptualization, we can express the thought of Metzinger: The visible world becomes a real world only by means of thought. Thus, in that arrangement of geometric entities, Delia Solari composes a universe having implicit in its language a concept of beauty.
Felt in this way the objective world, she transfers it to the canvas in the degree of abstraction suggested to her by reality, and the vision is subjected to a time and a space already appeared in the plastic process of cubism.
To this school, she introduces very personal and definite aspects as regards the employment of colour and light, subtly variating the considerations of an image whose structure is firmly rationalized. Despite this trend, from her painting flows a romantic atmosphere, due to the handling of tonal values and the elaboration of colour, which she subjects to luminous keys at minor intervals and without deep contrasts.
Space, most times focused pluridimensionally, breaks the tridimensional cubic space system; the superposition of planes with transparencies adds a sensitive note in the treatment of surface. Themes: still-lives, maternities, landscapes, portraits, are all motives for creating a universe in terms of absolute realities; the composition frequently fragmented in a formal analysis is unified by light and colour. The ambit created by Delia Solari’s pictorical language has a strong poetic emanation, its expressive strength prevails owing to the quality of her painting; in spite of her constructive rigour, her works keep the substantial unit, her formal willness does not extinguish the vital atmosphere present in most of her compositions.
Delia Solari’s work, very fecundant, is worth being seen in the sequential approaches of her different series «Cities of the Future», abstract landscapes, Imaginary Landscapes, and Still-Lives, where the artist is not tied to schemes and plastic resolutions find a free treatment evidenced by the degrees of abstraction used in spacial representations, which deserve more extense analysis and comment.

Rosa Faccaro
«Formación Plástica» Magazine

Perhaps, the essential common features, despite differences, established by Delia Solari in the individual expression are evident through the permanence of a serenity, of an eloquent abstract silence rejecting agressiveness, resulting from the product of a careful professional training directly influenced, almost as a closing, by the characteristic play of light. Despite this «slogan» appliable to all her work, we try to demonstrate that creative effort has its main representative in the conscientious treatment present in the practice of dynamic and sensual displacement in the manifold tonal prismatic mirrors with which she evolves towards constructive abstraction in her works, since she avoids the formal element, not as an evassion or an escapism from the pictorial problem, but culminating the rational attitude with the apparent alteration of simultaneous contrasts.
This means that as she introduces her technical faultlessness governed by the laws of balance, she seems to persist in the same state only varying the motive in it.
But on going deeply with forces producing «movement», reviving, potentiating her expressiveness, Delia Solari activates this vivencial simultaneity with preciosity in her transparencies and thus, feeding in her inner world, gets to differentiate the active energy when she threads still life, flowers, fruits, earthenware and other elements employing impressions and juxtapositions, except for maternities, giving privilege in her stylistics to the intensity of perceptible reality combined with the wise chromatism that instils action to the imaginative line of a self-governing world.
We could define the connotative condition of her images as «a state» which using the laws enacted by those who successively worked in the derivations of post-cubism, raises the level of an abstract-geometric depuration visually enriched by the spacial surrounding.
Instead, the attractive maternities are submerged in the «romantic period», organizational religious and technical elements blend together with the spirit of our time on not doing away with psychological and rationalist elements, in the desire that this experience should move, much more than linked to social life, towards the worship of subjectivism transformed by the warmth of tenderness.
The versatile personality of Delia Solari has already been imposed in our circle and deliberate constructions, where her intuitions are channeled, obtain the essence of each of the concepts proposed by Wolfflin as regards integral formalism as a supporting base: «the pictoric, the deep elements, the open shape, multiple unity and absolute clearness».

September 13th., 1982

If impressionism gave importance to light, to its most depurated chromatic decomposition, introducing to the picture the problem corresponding to such element not as illumination of things or rooms, but as un destroyable part of the ambit in which the picture has to justify plastic ally that other world which is painting, not the copy of reality; afterwards cubism fixed definitively the physical conditions in which that light, applied to forms, could originate another period yet not known in plastic arts.
We say all this because since her first individual exhibition, already four years ago, Delia Solari -Velázquez Gallery- has kept immutable her concept, of course not literally expressed but rather implied by her painting, that the picture is the coordinate of structures that, defending from that abysmal attraction of abstraction, builds compositions where the synthesis of the most identifiable character of things acquires the expressive vitality of their essence, precisely in an intelligent duality of reminiscently cubist structures and the introduction of light in the tutelary deflagration of the ambit.
There is a wise counterpoint of superposed shapes, leading to an image adjacent to unreality, full of a serenity free from every interpretative torment, such as something of that manner, and on the contrary, they can be sensitively grasped without any other mirror but that of the own observation.
Delia Solari thus owns a language more than personal, well differentiated from the surrounding and from such manners.

El Economista newspaper

With her usual warmth, Delia Solari is among us coming from Buenos Aires. She has just arrived from France, where she exhibited in «La Maison de L’Amerique Latine» with great success as regards reviews and public, and now she gets prepared to do the same in the peninsula. «It was a great satisfaction for me that Paris should open its doors to me and that I should count with the collaboration of the Argentine ambassador, Mr. Gerardo Schamis», she says smiling. «And now you will exhibit here».
«Yes. My plans about resting, sun, beach, tennis have been somewhat altered… I will exhibit in the show Art of our Time, sponsored by the Gala Art Circle under the organization of Miss Maria Growel; the vernissage is scheduled for Friday January 21st. at 9:00 P.M. at La Azotea, which belongs to the Haedo family. And next Saturday 29th, I shall inaugurate an individual exhibition at the Maldonado American Arts Museum directed by Páez Vilaró.
«And the themes?».
They are mostly still lives, landscapes, figures, though there will also be some pictures where I revert to abstraction. In all, the common denominator is light which transcends outside the limited space of a work, and a non-strident palette, for I consider that the spectator has to receive serenity»
Among the projects of this talented Argentine artist for 1983 there are three exhibitions in Montevideo, another in Sao Paulo, of course apart from her participation in River Plate rooms. And also to find time for reading-a passion she shares with her husband and children and to continue in the search for that unipersonal world which is art.

El Día Newspaper
Montevideo, Uruguay
January 15 th, 1983.

Delia Solari uses (subtly linking them, and with the result, in each of her canvas, of an unusual sensitivity) a language of her own, serene and opportune, and of aesthetical abilities that have already reached their deepest plenitude.
«Delia Solari’s plastic forms are a definite constant».

Arte al Día Magazine

Her strokes are pure. Though having a cubist reminiscence, there is a defined personality in her feeling of planes and landscapes which upholds that shade in pursuit of the contrast of light. The geometric plays a main role in her painting.
We are concerned with the pictures that Delia Solari, an Argentine artist, is showing at Moretti Gallery. A series of uniformly worthy pictures. Even figures which get divided into a straight or curved lineament within the limits allowed by that half-shade problem. How purely and finely the painter achieves it! Though it is always understood she set off from a naturalist object, Delia Solari meets her language and adds figures to it through the same plastic criteria in her pictures of a rather abstract nature. Due to her range of colours, she is easily recognized.
Light yellows, ochres, blues and greens leave behind the halo of a rich sensitive poem so as to be shaped into straight or curved lines. There is generally, in still life, a precise time for achieving the complete harmony of the picture. And her reflected colour repeats itself through the stages where rectangles are to be open windows overlooking its brightness. On the other hand, styling plays a vital role.
Delia Solari keeps to Cezanne’s sentence: «Nature may be shown through geometric figures», since she makes the elements change their nature through that vital imagination built up by the planes through a normally vertical vision of the structure, and since she seizes the formal richness in a circular way and develops its volume through solid geometric figures. All her painting is nourished on this conception.
The painter achieves the warmth of her colour through the coolness of the shades and, on the ground of her changing colour formula, the quality of her chromatism is improved. Therefore, colour sets forth in a fine relevance. The superposition of the planes, even in its static abstract force, hands on to imagination a facet which multiplies in the figure, which had scarcely appeared in her painting.
Regard is given to analysis as it helps to develop her theme. Though there is no impromptu, improvisation, and spontaneity, a subjective feeling is involved in them which reaches a high point in the still life «with bottles». She now adds some pale rose ranges of colour which benefit the harmony of this sundry conjunction of shades, linked to a fine but strict discipline.

«El Día» Newspaper

«This prison, these, bars where the soul is locked up», (Saint Teresa of Avila); «After getting married and having to give up my professional career (Accountant and Bachelor in Enterprise Management), I took up courses on drawing, painting, composition and history of art with teachers M. Lagsner, M. Lozano, J. Giustozzi and particularly with the great teacher J. C. Chasco Ros. With his help, I worked thoroughly on creativity, trying to acquire a current and own plastic language», said Delia Solari on the preface of the catalogue of her exhibition held at Velázquez gallery. «I feel my professional career as an everlasting challenge», she added. According to her words and to what she has accomplished through her work we have stated Teresa de Jesús’ passionate though. Her superior quality is not ostentatious. Her forms are not conventional. Her visual identity of the structure is mainly determined by that endless beam of light together with the intimate reality of her colouristic practice. Due to those abridged views within an integrated conception which borders on the intellectual, to the accurate and subjective style of her aesthetic-experimental relationship, and to the endless struggle within herself shown by her soberness, neither concealing nor uncovering, but having an everlasting intention, the reason for her pursuit Delia Solari knows that though she is or feels on her own, symbolically, she should recognize there is in her a mystic and unavoidable trend to the pathos for the aesthetic devotion. That makes her be completely aware of the limit to her private life since an immanent renunciation is required when pursuing a fruitful work of art. A deep sensitive vigorous vitality; she outstands individually on the ground of her unpretentious temperament; a curious statement which we do not usually point out. As she reassures the feminine nature, there is warmth involved in those quiet, abstract and transfigurational atmospheres, as if they were developing the frame of her personality and adjusting it to almost doctrinal guidelines or similarities.
It is the result of her perception geometrically expressed on the canvas. The painter however, separates her singularly independent chromatic images so that the changes of the perceptive element come to prevail and they therefore achieve different positions; having, always, a structural skeleton which doesn’t allow occasional creativity. The consistency of her works of art includes an apparent three-dimensionality which is brought about by the expansion of light and colour, which is revealed by the daily fact of an object linked to the view of her imagination. This, in fact, does not prevent to mark certain works which -as glowing paths- stand out due to their pronounced differentiation.

Ambito Financiero (Third Section)

This painter-to whom we have devoted at her exhibition held in Paris in 1982- is showing works of a reasoned geometric schematism at Velázquez art gallery. With the exaltation neither in her palette nor in the themes, «Wheat Field» and «Loneliness in the Sea» outstand in the collection for what they promise and for the necessary depth they outline. These are interesting proposals which Solari should look back on-sensitively- in no haste and carefully.

«La Prensa» Newspaper.

Once more, Delia Solari’s pictures are shown at Velázquez Gallery (932 Maipú ST). For a few days, you are still able to see her oils there. They are sober, restful, as if they were bathed by gentleness and lost in their own dreams. Delia Solari’s way of painting has been eventually changing and has now become much more thoughtful and deeper. According to the themes she has chosen, it seems this painting is based on three different approaches. Certain pictures, a few, are floral designs and they are sensitively performed owing to Delia Solari’s distinct way of painting in a near past, although they are much worked out now. Her captivating canvases are built up through a meaningful nexus which may be described by Luchino Visconti’s words, a family group having certain phantom aspects and great brightness. The pictures giving evidence of the artist’ latest concerns are finally grouped out, those that might be defined with regard to their abstract nature, as series of planes highly arranged and carefully performed where a metaphysical dimension is observed and upon which Delia Solari would finally seem to decide, hic et nunc. Likewise, there is a supreme preoccupation within herself. Actually, her previous work of art has been dealing with this subject: the call from light. Her compositions may emerge slowly and gradually from the shade, a Latin would say «extenebras», and become incidentally visible in the world for which they were produced, or they may be developed in the opposite way, a way which is a relevant as the former: the one that goes from light towards darkness. It is true that Delia Solari’s painting should be seen altogether, but in order to understand her art quality, one has to read about what she went through before every brush-stroke (technically perfect, with no interruptions, which is effective on surfaces of great homogeneity and on transparent and light textures), and to understand the way planes have been set, those that either receive or refract light, according to each picture, the area where wisdom is focused this is not a question only about the present time in paintings worthy of praise. Consequently, through that pursuit of light if the opposite way is taken, the equation is valid by inverting its terms- the artist expresses herself in soft ranges of colour, since she has not entrusted the intensity of her expression to colour. Her pictures have magic and atmosphere, where time seems to be singularly held up, like in an inner introspection, and a spring of very pure water and soft music uninterruptedly emerges from them. It is a painting which responds to that deep rooted call from light which it is pleasantly given, and which then reaches the delighted visitor being fully complete in its meaning, in its maturity and fullness.

«El Cronista Comercial»

At Velázquez, Maipú 932, Delia Solari exhibits 36 oils and 8 additional pictures. It is unfortunate that the paintings are hung so close together. Her intimate message and poetic vision cannot be fully appreciated under these conditions! Her technique combines the delicate construction of planned colour transparencies. (They are like prismatic musical chimes, tinkling in soft breezes). Plants and still-life objects are caressed by golden light. Browns and greens prevail. Delicacy and romanticism permeates these tender nuances, which surge forth serenely, from the inner depths of her soul.

«Buenos Aires Herald»

Capital Federal (by our art correspondent) it seems repetitive to emphasize that abstract art never leaves behind the condition of being realistic, and that the artist is bounded up with abstract connotations. We may observe in every one’s limits something similar to a return which makes us discover this plain truth. It means that the morphoplastic along with the essential of the recondite shape a wisely painted surface. With regard to Delia Solari’s particular case, these two proposals are clearly revealed in her pictures and are found implicit in the innermost of her work of art.
Beautiful and strange characters modulated by a perpetual movement. They evidence a representational presence like in still life, but freely roaming with their imagination within the structures they are determined and through a perfect geometric reasoning development. It is the genuine outward expression of life, restrained and free at the same time, she differentiates them from ordinary events by setting situations and characters into an indefinite time which is forcefully present. A fact which takes place since Delia Solari, before her easel, frees herself from those guidelines which may hold up her generous imagination, and though she visualizes the abstract, the realistic may get into recondite areas, a place where just mystery is developed. Accordingly, those human faces are drawn incompletely and it is definitely imprinted what is not visible. This aesthetic hierarchy is expressed by a few painters, though, sometimes, they do not paint well.
There is no doubt I am not referring to this artist since her works, in addition to the review previously made, are excellently performed. Delia Solari knows that painting is a spiritual investment where it is not in her to make mistakes. A fact which is evidenced by her pictures. You may see it by yourself al Velázquez Gallery. You would be grateful for my having invited you.


There is no doubt cubism is one of the demonstrations most linked to modern trends. Since Picasso, Gris an Braqué introduced it, (Italians were also trying to shape Futurism) the theories that led that painting towards a symbol bloom, have been linked up.
Pettorutti has been a great cubist in Argentine.
Though it is not pertinent to analyze here such movement, when observing her paintings we relate Delia Solari’s pictures, an Argentine artist, to the aforementioned school.
We are speaking of a relation since the painter manages successfully, through her clear and captivating technique, to get away from those teachers who have undoubtfully inspired to some degree her constant own plastic joy.
She is a fine artist. A stylist who looks for a way out through her poetry and does not copy out. She comes to prove, through some of her pictures, her spiritual haven of colour, which is always harmonized well which never clashes.
There is not a steep contrast of light and shade. And if this shows in her pictures (which are worked out through geometry and a bountiful, trained imagination) her passages are expressed with fantasy too. There is a condition difficult to be technically distinguished on these canvases or in this expression: subjectivity.
There is a highly feminine sensitivity in her pictures, a lively richness involved in the different states of light and ranges of colour. Light yellow seems to be a colour which, once diluted, spreads out on the picture as a far-sighted symphony, filling hollows with colour beams suitably measured. The picture develops into a well-disposed composition. Not long ago, we remarked that there was certain mysticism of silence in her works. And we still believe so since her paintings have improved noticeably. There is a greater depth in the arrangement of planes, when moving the perspectives towards that suggestion, they link up and thus lose touch with the contours in order to increase light and share the skillful richness of a highly developed lay-out.
The painter sets off from a particular stage and the elements which build up the composition slowly emerge from it. Theme is not relevant. This is no longer present after it is modified and styled by the technical and poetical swarm. It is then developed in a different world, the one of the ordinary object, according to the testimonial scale of painting.
Her work of art was shown at «Ibiza Gallery» (Apolo Building, 22), Punta del Este.

Eduardo Vernazza «El Día»
January 1984

Since Manet no-one has been able to escape from the seduction of light. Not even those who decided to oust it from their work and deny it, as negation implies, in itself, the awareness that something exists. It is also true that impressionism, was and still is, in many works seeming to be formal, so far from it; because there are times of art, discovering deeds in creativeness, which do not come back, but remain and constantly express themselves as reality.
For this reason, to say that Delia Solari paints light would be so obvious that could be regarded as puerile, and, however, that is the point. But not only light such as the observer may imagine it, used to pursue it through objects, or as the essence of a landscape, or even as designing figures or enhancing shapes, but as a sort of «pan lumen», by which all Delia Solari’s work is light. Same as the pantheist finds God in everything, this preciocist teller of intimacy and warmth, of colour and affection, finds light in everything. 
It is also true that since the impressionist adventure, a hundred years have gone by and that a complete formal and expressive revolution has developed through them and that, not vainly, dozens of «isms» have incorporated to the plastic possibility and to the sensitive intuition of plastic activity.
Delia Solari, an artist of our time, selected among them the mechanisms, the means, best fitting with her anxieties.
For this, though it is undeniable that she builds her canvas with the minuciousity of an architect who knows up to what point the gracefulness of a curve or the persistence of a lengthening plane must be restrained for the sake of the safety of the whole-sometimes sacrificing originality and elegance, her ability to enjoy colours allows her to be free -1 would say happily free- in the persecution and handling of a range abundant in shades and half-shades, giving her work the charm and the seduction of successive findings (which integrating a whole), are not stereotyped. Her work reflects a genuine reality, which exists in a diversity without dissonances.
Serene, but never timid work, feminine in the real sense of the word, as it is full of a lovely tenderness somewhat evoking the possessive love of woman for the things belonging to her, to which she gives life. Perhaps that is the secret of Delia Solari’s work, as, whether landscape, interior, still-life, or family group, it is her own creative decision what shapes the shapes of that every day world, only seeming in transcendent to those who, as they do not love it, suppose that it is only made up of elements: beings-elements, things-elements; forgetting that spirit dwells in them all and that there are emotional times even of those things, and that there is a vital rhythm hiding behind the shapes that apparently gives them the quality of things, As Delia Solari looks at everything from her soul, the evident simple circumstance of being and its momentary occurrence are distinguishable and thus separable.

«Arte al día» magazine
Octuber, 1984

Once more, Delia Solari’s style is shown through her latest work of art. The evolution of the forms is based on a singular geometry which is linked up to the correct juxtaposition of the colours, a special sensation of movement is brought about on the whole. Therefore, there is a series of highly original designs and themes which are not detached from the daily environment the painter lives in.
Obviously, Delia Solari’s works or art instigate neophytes and those experienced in painting, to argue away, carrying out the artist’s main aim.

«La auténtica defensa»