Vernissage, City Hall, Bressanone, December 1999

“De Angelis, like all real painters, tends to a synthesis that manifests itself as a chromatic architecture supported by lyrical notes – through his deep religious sense, Love becomes a chant of colors.”

G. Vonmetz Schiano,”Il ritratto di un archetipo”, ALTO ADIGE (Cronaca di Bolzano) December 1999

Vernissage, Galleria Porto di Ripetta

“Nothing is left to chance, to the whim, to the temporary influence of inspiration. This means that light, tone, reflections, arabesques, every structure, and filament are controlled by a need to understand the mysterious activities of appearances.”

F. Simongini quotes R.M. De Angelis, “Le astrazioni di De Angelis”, IL TEMPO (Galleria Porto di Ripetta), April 1985

Remo De Angelis (right) and Aurelio De Felice (left)

“More than by words, this painter is defined by his own works: he combines the strength of spontaneous gestures, unconscious, triumphantly freeing his powerful emotivity, with rationality and orderly harmony, achieved through a refined and cultured synthesis, using a consumed and masterful technical expertise.”

Aurelio De Felice, “Acquerelli di Remo De Angelis”, Art Gallery 102, 25 October 5 November 1983

“De Angelis has always aimed at the deepening of the time-space unit, and therefore of the dynamic elements, pertaining to the becoming of things, as well as of the immutable ones (matter-nature), with the intent of discovering new expressive means of a spiritual and lyrical order. Such an operation has an all-encompassing aim, since the appearances of matter, “which we refuse to accept a priori,” as Boccioni used to say, undergo, through light-color, a continuous transformation of the mood elaborating and modifying the environment.”

Luigi Tallarico, “Remo de Angelis e l’autonomia della forma-colore”

“We can see that you hail from a land of sun and light. Better stated: of sunlight, of warmth. This is, after all, evident from the colors you are using, that is, the traditional oil paintings, used as only an impressionist would – or a “fauve” from the times in which painting was definitely out in the open and charmed between the molecules of air and the turmoil of waters. You do not use, in other words, acrylic colors or others, which make the gaze sour and the senses impoverished. Yours, is a beautiful oil painting, energizing, and refreshing.”

Nicola Ciarletta, Correspondence, Rome, 12 June 1978

“In Remo De Angelis, the motivations are perceived as between anguish and the daily joys, a magma of colors-strength that stems from a dense, luminous skein; and within the framework of a complex orchestration in which the light is allowed to dissolve the solid matter of structures into inner states and chromatic visions. A final completion is thus created, in the painting surfaces, in the abstract game of qualified and committed rhythmically reported with lyrical lived up to the most remote effects, withing his spaces harmoniously dosed.”

Arturo Bovi, “Remo De Angelis” ARTERAMA, 1976

“De Angelis has entered the world of painting in his years of maturity, although it is hard to believe that this belated vocation had not been harbored over time, seeding, and purifying itself to finally claim the need for an outlet. The result of such a turmoil, not a confused one but one that soon coagulates in a precise formal choice – are countless paintings where we can notice the merging, the convergence and the flow of “emotions” which belonged to that painting current which in the 50s was called informal or non-figurative impressionism…”

Vanni Ronsisvalle,”Remo De Angelis,” TG1 Books and Exhibition section, 1976