They write about him :

“For Docci art is not e means of making life beautiful bat a counter-spell to curb anxiety and fears, to exorcise worries and “bring out” the charge of human feeling.
In part the painter sees the surrounding  world from its fragile aspect: female figures – represented  plasticly – or the ovals of faces are frozen in a sad expression, the portraits of worn people, the objects discarded or faded by the veil of oblivion.
Therefore the tension which Docci advocates on the level of shapes responds to the conflict of ideas between positivity and negativity:  if in a part he is really attracted by human fragility, on the other hand  he moves in the opposite way to this experience by combining “monumental” forms.”
Fulvia Croci Caimmi

“… Alessandro Docci’s work deals with images of recomposed figurative equilibrium and balanced projectional composition…
…What particularly characterises the world of this artist remains his experience of life, through mnemonic visions…
Docci reveals a kind of cult, for the traces of that time which belongs to him…
Which is translated into the most intense works, signs of real poetry…
A painter who individuates intents, and composes methodically and with a peripheral gaze, enigmatic presences whose individuations is often denied.”
Mauro Capitani

“Alessandro Docci draws his inspiration from an internal world imbibed with poetry and personal needs and experiences, and filtered through memories…
…it is clear that the artist directs his major effort in painting to the way in which he can give greater vigour and strength to the problems and contents clarifying his ideas which are neither simple nor superficial since he tries to reconcile his dreams with the reality around him…
…to put it simply, Alessandro Docci achieves his works by means of a figurative, modern, personal and therefore more difficult way of painting because he has to highlight feelings, doubts, anxieties and the memories of his dreams.
In my opinion, he manages to do this very well since with time he has acquired a valuable technique, considerable expressivity and an appropriate and well-balanced use of colour.”
Domenico Pugliese

“For all art critics who maintain that painting is dead, antiquated and no longer in conformity with the spirit, it must be said that Docci’s paintings are, both as regards colour and form, a jet of poetry full of sensual filtrations of reality…
…they emanate peace and tranquillity and are allegories of an untouchable world…
…Alessandro Docci’s painting breathe.”
Mattias Seitz            

“… the whole production, is certainly not a reason for anguish and desperation, which have been the raisons  d’art for many artists. It is in this that Alessandro Docci’s originality lies…
… a figurative language which often recurs to scansion on successive  levels or which intersect to give the sense of distance in landscapes, to follow the volume in the form. The levels are often irregular and in different colours and can present again darts and marking highlighting the traits of preferential motifs, which represent the artist’s strong  will and his ability to leave his own mark on what is outside himself. The colours have their confines but they do not respect them, they overlap from the drawing, spread out and then return like echos, they do not stay in their places, but this is the creative freedom which convinces, involves and fascinates.”
Elio Succi

“Figures painted with strong, expressive gestures. These faces by Alessandro Docci appear full of emotional intensity and dramatic testimony of existential malaise.”
Enzo Di Martino

Alessandro Docci’s figures live in the blue, ethereal presences moving in a liquid and rarefied colour, following the blue.   
Stefania  Carozzini

Alessandro Docci  paints female figures on a blue background diluting info green. His are women looking into themselves, friend chatting, as if each of them  were coming to grips with their own doubles. 
Angelo Siciliano  

They are not real portraits, but replies to interior images Figures which are mostly declined in the feminine, painted in deep, cold tones, with a faint, fleeting outline, to accentuate the malaise of our lives
Maria Lucia Ferraguti

“ Colour and Warmth “
They are magic boxes of  moving mirrors, giving you a fleeting  or permanent look at the problems of  each of the characters represented; each photogram is a colourful breath of wind, stopping for an interminable second, an unforgettable magic  second. This is Alessandro Docci, an artist who distributes his colour in a strong but  impalpable way, combining tradition and modernity in own personal style.
Guglielmo  La Rocca

In Alessandro Docci’s  research, colour acquires a primary role, equal to a poetics in content expressing our present-day disquiet. The malaise of some conditions of  contemporary man find refuge in dreamlike situations and atmospheres, in moment of  reflection that Docci sets in situations alienated from basic realty.
Sira Ariatta
   
“In his paintings is reflected the contrasted field of human life; the positive, and the negative, melancholy and joy, fear and hope, passion and gratification. Sometimes with brushstrokes of deep colours Docci shows in his paintings the metamorphosis of  being, from the dreamed of nostalgia to the clear, at times harsh reality.”
Martin Konermann

“The paintings show a tension between static and mobile element. For example, there are light faces beside others which, through the erasure of colours, seem out of focus. This technique gives the paintings a great dynamic quality. They seem alive and at the same time surreal. This effect, which gives the paintings a particular note, is a specific feature of Docci’s. Also as regards the artist’s choice of colours, blue is dominant and gives a characteristic backdrop to his latest  paintings. For example in the striking and emotional painting entitled  “Return of Passion””  
Anne- Kathrin Auel