They said about him

"Where, instead, the plastic virtue of the sculptor prevails (like in his early works), roundish, solid works characterised by a strong essentiality are created: as it is in the “Family-group�(almost reminiscent of Moore’s works) of almost barbaric solemnity, so expressive within the plastic (and therefore also psychological) relation between the two parental figures, with the child laying stiff on the pillow held by the mother: a work of an authentically archaic tone and of high moral seriousness."
(Piero Bianconi, Cooperazione, December 9, 1961)

"His experience with the stone is primitive, unsullied and culturally uninhibited. Contrary to those who claim to know a thing or two about material, his is the intelligent listening to things and looking into them of a man who is seeking knowledge."
(Dr. Harald Szeemann, Catalogue of the solo exhibit at the Modern Art Museum of Ascona, 1991

"The historical understanding of the peace movement, which considers John F. Kennedy and John XXIII as messengers of peace, is obviously naive, but the essence of sculpture lacks the naivete which is often attributed to it."
(Dr. Harald Szeemann, Catalogue of the solo exhibit at the Modern Art Museum of Ascona, 1991)

"He is a traditionalist only in the sense that in a block of stone, at a visual level, he just sees one figure or one group. But his peculiarity and his strength are to be found in the way he gives life to that figure or to that group, taking them out of the inorganic."
(Dr. Harald Szeemann, Catalogue of the solo exhibit at the Modern Art Museum of Ascona, 1991)

"Ticino found in Jelmorini an artist who felt the primeval need of a culture freed from social and political influences and who, even if unknowingly, expressed this need through emancipatory ideas. There’s no trace of naivete or of cunning in him. No, his sculptures are calls to freedom, to creativity and to inwardness, coming from the stone and heeded by the artist."
(Dr. Harald Szeemann, Catalogue of the solo exhibit at the Modern Art Museum of Ascona, 1991)

"The way he stands out thanks to some finenesses and to the intuition of the possibilities offered by a material as hard and as rough as stone, is simply unbelievable�What impresses every visitor about this exhibit, is that something so incredibly archaic that emanates from these sculptures�which seem excavated from the cradle of our civilization. Another impressive characteristic, which is absolutely remarkable, is how this sculptor made use of a hard and inexpressive material such as stone to express kind thoughts. So we see two sheep resting next to each other, inspiring a feeling of warmth and affection…How can affection be expressed with hard, rough, inert stone? The idea of these tenderly portrayed shapes standing next to each other, can also be seen, for example, in “Fish� where the fish meet and touch each other at a certain point of their life. All of them created in stone, which is the farthest from the vivid and darting material in motion that are actually fish. And then that amazing sculpture “Bunch of Flowers”…Who would ever think of making a bunch of flowers by carving a hard material such as granite? The result is something quite radiant, which irradiates a shape directly from hard stone. Something really stunning."
(Lawyer Efrem Beretta, President of the Modern Art Museum of Ascona, 1991)

"Finding and recognizing the tender and very sweet sculptures of Ettore Jelmorini, displayed at the place of honour, in the Pavilion dedicated to Italy, in “The Platform of Thought�is an emotion, which passes unnoticed to most people. A perfumed (yes, it is perfumed, see it to believe it) “Bunch (actually a “Vase� of Flowers�which is so light and richly coloured despite being carved in heavy and grey granite."
(Giovanna and Franco Bellini, “Millecanali�, October 2001)

"A man who likes simplicity and nature. What is most impressive about his sculptures is this simplicity, this frankness. The face of the “Virgin with Child�seems pulled out of the mass with force, while the Child, who is almost vanishing into the stone, seems to want to tell us about motherhood, which is still going on in all its beauty and its greatness."
(“Giornale del Popolo� November 6, 1980)

"Jelmorini’s sculpture goes beyond simple transposition of ideas into shapes portrayed in the stone. It is rather the stone that cries out to free the image, which is imprisoned within it. The twenty-year sculptural activity of Jelmorini is characterised by an artistic evolution in themes: from animals to human figures, to religious themes, to group images, to symbolic representations."
(From the presentation text of the solo exhibit at the Modern Art Museum of Ascona, 1991)

"Like some of his animals, the cats in particular, which seem to emerge from an archetypal and primeval bestiary, somewhere between amazement and daze, between irony and impendence�.Or some of his musicians, which are far from caricature and grotesque and which maintain in fact a their own dignified composure, but are blocked by the flowing of a cosmic time."
(Claudio Guarda, “Eco di Locarno� March 29, 1991)

"(the musicians)…figures which are only roughed out, revealed by the chisel from a single block of stone,�., with a synthetic and richly expressive face turned upwards, the mouth and the eyes half-opened as if they were about to say one last prayer � (the animals)�the feeling of warmth inspired by the resting lambs, by the softness of the lying dog, by the moving and humid nostrils of the horse’s head, by the swollen bodies of the fish in the water�"
(Marcella Snider, “Cooperazione� April 4, 1991)

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"Any unaware visitor that approaches the work of Ettore Jelmorini in the rooms of the Modern Art Museum of Ascona, won’t be able to avoid the emotion, alive and deferent, provoked by things which are apparently timeless, mysterious and which emanate a hieratic presence. This impression, emphasized by an effective setting, leads actually to the comprehension, yet neither simple nor direct, of Jelmorini’s sculpture, which plunges its roots into the depth of the unconscious and into the distance of long and unchanged historical times."
(Maria Will, “Azione� March 28, 1991)

"His human and animal creatures may be called “daughters of nature� they grew freely, exempt from any intellectual influence, having, more often than not, no other purpose in life than to give concrete form to the creative impulse."
(Mario Barzaghini, “Corriere del Ticino� April 3, 1991)

 
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