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From The Objectivist, December 1966
"…to the extent that one may detect certain dominant values in different cultures, one could say the work of Capuletti has the passionate intensity of Spain, the elegance of France, and the joyous, benevolent freedom of America."
"The first impact of his work…is a sense of enormous clarity. It is as if the air were washed clean and things stood out self-assertively, demanding recognition, in an intensely heightened reality."
"A dramatic economy of means, selectivity, precision and bold, pure colors are the dominant attributes of his style, made by a technique of such disciplined power that it appears effortlessly simple…There are no smears, no blurs, no dissolving shapes, no messy brush-strokes. The subtlest gradations of color are broken into distinct areas with discernible boundaries; one does not see them, at first glance: one sees only the effect of unusual clarity; but look closer, if you wish to observe a virtuoso technique."
"The sense of life projected by Capuletti's work is that of a man who is in love with life…It is as if a man's eyes were headlights and he were forever delighted that the things he saw were luminous, not knowing that the illumination came from him"
"The emotional sum and hallmark of an exhibition by Capuletti is a lingering sense of sunlight. His work is enormously, overwhelmingly joyous; its irrepressible self-assertiveness has a quality of childlike purity and innocence…"
"The most revealing indication of a painter's sense of life is his way of painting human beings. Capuletti's nudes are so innocent a glorification of the body that they make sensuality spiritual."
Commenting on Capuletti's eight portraits of Flamenco performers:
"Degas managed to make ballerinas look awkward and flat-footed; Capuletti makes middle-aged peasants look significant and imposing. Such is his view of man."
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