"Nicola Zinni has discovered, built and recreated a style which is primal, essential, direct, but at the same time distinctive: one can notice from the different matters he touched in the last years. His mark, in relation with his painting style, works and acquires different functions, it's never still, never completely defined; staticity is struggled by energic brush strokes, intersecating to form (not at all) dead natures, abstracts and great anthropomorphic figures, merging sometimes with natural elements of flora and fauna, with clear symbolic aims.
All of this production and much more is the outcome of a continuing and copious work (...). Nobody can easily suppose what are the intimate origins of the obtained results, as well as to forecast the path this author will step, but his unique energy assure a future dense of culture, emotions and prosperity of incisive ideas (...). An enduring author."

Gianmarco Ilia, critic

"(...) N.Zinni supports a type of warm figuration, constructed with the sign of the man, making and the more precious handicraft art that all render more lived and therefore. He is incredible to find the emergency that leaks from its action(...). It’s difficult to have one panoramic of such enormous production. Zinni was born with the pencil in a hand and grows continuously with the paint-brush. He proposes with the most remarkable authenticity, careful topics and easy to share. Probably we are only at the beginning... (...)"

Galimberti Guglielmo, critic

"(...) The hand of N.Zinni seems to be depositary of training years, but the mind of the Author, to judge from the thematic ones faced and carried out with excellence, remains faithful to a classic, human overture, also proposing a new type of visualization: innovative, fresh, vital, modern (...) N.Zinni has demonstrated of having solid bases on which constructing the most personal speech, one virtuous metric, a path that induce the careful spectator to being followed. (...)"

Geffri Carlo, critic

"(...) An aesthetic therefore dry, therefore strict, in order to describe authentic contents, lived in first person, recalls genuine feelings, that they magnetize the spectator to the inside of the painting in order to make living the entire gestation of the work (...). Taste and choices that aim at the synthesis, to the fulfillment of delivery of the Idea, one construction essential of the object of study in order to testify of its essence. All that proposed in equilibrium with a rhythm that start with the work but stretches not to never end, to remain in the mind of the spectator who has it received. (...)"

Lodini Pietro, critic