"Del Drago pushes forward
all the developments contemporary painting and particularly those
of the great French tradition."
Nello Ponente - University of Rome
"La Sapienza" - 1978
"Francesco Del Drago upsets centuries of pictorial tradition.
His chromatic circle based on pigments re discusses well established
principles."
Emma Louis - Grenoble - 1981
"In Del Drago's painting we find the desire of renewing an
authentic painting joining together like Allberti, a strong theoretical
reflection with a research based equally on observation, experimentation,
and creative intuition.
So the importance of intuition in his work, in 1978, of the hero
chromatic circle which actually summarizes
the essential of his researches.
We can say that this discovery has the practical effect to improve
on the physicists's not pictorial theorization.
For Del Drago one has to depart from the physical and sensorial
reality of the pigments: this is what is most important for the
painter's eye. In this way he affirms his will to obtain an equal
intensity within colors, in the aim to attain an harmony without
which no beauty could be express. Beauty which for Del Drago represents
the ultimate goal of any work of art."
Jean Rudel - University of Paris
"La Sorbonne" - 1984
"His results are the most advanced in contemporary painting"
Gianclaudio Macchiarella - Italian
Cultural Institute of New York - 1990
"...Analytical experimentalism, mathematical and at the same time
creator, and subsequently associative and inventive."
Giorgio di Genova - Museo del Risorgimento
Roma - 1999
"Italy has always had wonderful coloristi... but the painter
whom, more and better advances in the theoretic and practical
activity of color, for a new beauty's building, is Del Drago.
Tenacious and patient seeker, he is very concrete in his desire
of building the beauty with the painting..."
Dario Micacchi - Fine Arts Critic - Rome - 1991
"Del Drago's polyptics, started
in 1986, are composed like symphonies of a complexity never reached
before, in his paintings and drawings, in his chromatic inventions
with slow automation (communication to the College of France in
1974 on his theoretical bases, either aesthetic or techniques)
He joins them very well to sounds, deeper to his aesthetic and
unconscious feelings, and to his transcriptions of the nature..."
Simona Rinaldi - University of Macerata - 1993
"It is the same emotional and physical shock which one fees
in front of the works of Del Drago a color shock, so violent that
it could be touched moderated only by the gentle lines which accompany
and soothe the eye. This mixture is so perfectly blended to provoke
in the onlooker an almost fleshy pleasure. In fact all of as we
are spectators in front of this "opera" of colors and
forms endowed with a lyrical and immense breath.... the most French
of the Italian painters. His innovative steps changed the data
of contemporary painting."
Madeleine Severe Boutefoy - Museum of Villefranche -1993
