"The dried up,crooked trees seem to form amongst themselves a kind of tragic dance in a gloomy scenography.By now Autumn is approaching.The air has become grey and the sunflowers finally bow down their heads defeated by the change in the season.Dario Delpin has captured this moment of the countryside with a strong,symbolic meaning in painting.It unityes and in some way continues,The other aspect of the Friulan artist:the impressionistic one,which is led to rappresent a calm,serene and sofly elegiac atmosphere.A few years ago,in 1990,standing before a series of paintings by Delpin portraying expanses of sunflowers,I asked myself,“Is it possible today to paint,as Delpin does,a field of sunflowers?That is to say,what cultural chance can so clearly an impressionistic approach to nature,have?“I responded at that time claiming the legality of an unmannered impressionism linked to nature's primary sources.“That which distinguishes Delpin,“I wrote,“is the need for space,air and light,that makes him correctly offer the sense of a perspective that spontaneously widens with a well-measured breath.“Several years have gone by since then.Delpin has further widened his approach to nature.He does continue to paint red poppy fields,the Friuli countryside rich with crops,the harmonious rhythm of the fields and hills,but his sentiment has shifted above all to an existential meditation of nature–hence the grapevines,mulberries,cypresses,trees,abandoned boats on the lagoon,the incipient winter,i.e.the sense of melancholy faced with the setting of life.Delpin enriched his sensibility by opening painting up to an expressive range that involves our entire personality,that goes from joyously dipping into nature to an in depth psychic study close to melancholy.Delpin has the rare ability of acquainting us with his sensations,turning us into the protagonists of the painting.This confirms the artist from Friuli's gift of linking technical-executive quality with a direct expressive ability,nourished by natural truth".(Paolo Rizzi)
