« A strong artist of total integrity, Daniele Ranzoni moved to Milan to develop his research in intimate communion of ideas with the powerful Cremona.
Their brotherhood brought about a new way of rendering the human figure endowing portraiture with modalities none can encounter under the brush of the great portrait painters of the past.
In which way is their manner so different? It’s easier to feel it than to explain it.
In the art of the past, forms were perceived and defined as contained by lines or contours: the new aesthetic, instead, induces us to observe form as masse that is an integral part of the background in which it is defined to such an extent that the beholder’s eyes cannot grasp where the former finishes and the latter starts.
While Cremona was painting it looks like he was fencing or shooting darts.
Having caught the essence of the face and registered it on canvas, the gaze would follow suit emanating from the strength of his rendition of the eyes.
But these eyes, the expressive intensity of the gaze in Cremona portraits have a something that one does not encounter in portraits of the past. »

Vittore Grubicy , 19 April 1910

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