From the reviews / Estratti da recensioni 

Small Paros landscape, 1972 (detail)

Meticulous preliminary sketches prove that his landscapes are carefully planned. The final execution is so assured that the actual paint is no thicker than a photographic emulsion. In this Kopp approaches Velasquez’s minimal touch in such late masterpieces as “Las Meninas” with apparently no second thoughts or re-touching. 

John Hart, “Dieter Kopp’s imagery a correction for faulty vision,” Daily American, 18 April 1974

le sue nature morte sono tutte vere e tutte visibili, eppure sembrano cifrate in un alfabeto misterioso, forse quello dei sogni, un alfabeto di indizi inesplicabili. 

Enzo Siciliano, “È ancora arte degli Anni 60?” La Stampa, 22 April 1976

Une même facture souple et enveloppante fait onduler les collines de ses paysages et les plantes de ses natures mortes, dans une atmosphere magique, dans le monde imaginaire de la peinture “en réalité”. 

Julien Montboron, in catalogue of Centre Canrobert show, 1981

Zurbaran I, 1975/76

gli olii e gli acrilici di Kopp si espandono e si fissano, come se l’artista avesse cercato e trovato, senza apparente fatica, una propria via verso un fare grande, largo, sereno, quasi assurdamente umanistico. 

Fabrizio D’Amico, “Kopp e la sua ‘magna charta,’” La Repubblica, 31 March 1982

Yellow nude, 1981 (detail)

Bowl, 1996

Je ne connais guère que Dieter Kopp ... pour avoir su perpétuer dans la peinture la qualité singulière de la permanence.

Jean Clair, in catalogue for Galleria Carlo Virgilio show, 2000