Andrea Gibellini, Quei luoghi indimenticabili, in Luoghi del mai, Ischia 1994
Lombardi is not content with being a mere observer of reality. He is aware of living in a nocturnal period for human beings—in a cold, sluggish night, with no people amongst the houses—in which believing in painting requires a superhuman, almost angelic effort. For painting—and perhaps art in general—is struggling against a principle of dissolution, of unreality, of lack of meaning, of banalità and boredom. For Lombardi painting is not just following his own destiny, but is also an act of collective consciousness, it is discovering a common Evil. Lombardi’s painting is not really a painting of imagination that breaks through into the world of dreams. His, fundamentally, is a kind of painting that we could define as existential, one of condition: this is why Lombardi is a contemporary of ours, but with an ancient heart.