Today, with the passing of years, we can find fresh the words of the Venetian art critic Paolo Rizzi, who in August 1971 wrote: "we don’t say brusquely: it is time to rediscover Eugenio Da Venezia. Who has eyes (and taste) he has already "discovered" all the time: a painter like this, indeed, does not need subsidies critics, because his paintings speak for themselves".
Eugenio Da Venezia represent the pictorial tradition of so-called Italian figurative, starting from the roots of French painting to arrive to a pictorial processing typical of Venice, which he has the surname, resulting in a use of colour as main subject, restructuring and recreating a form new and different from the original.
A "French" adopted, it still stands out as unique in brush painting, where it witnessed the friendship, pre-and post-war period in the thirties and forties, with the Duc de Trevise, Sauvegarde de l'Art Francaise and the painter Pierre Bonnard.
A Lagoon Post-Impressionism shared with his friends Masters such as, among others, Marco Novati, Aldo Bergamini, Fioravante Seibezzi, Neno Mori, the first period paintings of Giuseppe Santomaso, Mario Varagnolo Carlo Dalla Zorza, Cosimo Privato and fleeting Filippo De Pisis.
Adherence to the tradition of figurative painting carried out against the Vanguards, reaching the extreme action of throwing, only him, the paintings in a canal on the island of Burano during the prize of 1946.
In 1956 he attended the last Venice Biennale, seeing an evolution in art away from his ideals and therefore no longer to be interpreted and assimilated by Da Venezia. Over the years, new inspirations paintings interspersed with pauses for reflection lead him, for the second half of the twentieth century, in the figuration of Italian Art.