The Critique

Vaninetti:"About Myself and My Painting"
Raffaele De Grada, 1966,1987, 1989
Wolfgang Hildesheimer, 1966
Nazareno Fabretti, 1961, 1972
Luigi Santucci, 1972
Sigrid Genzken, 1972
Walter Birnbaum,1975
Enzo Fabiani, 1985, 1987
Gritzko Mascioni, 1985,1987

Vaninetti and his fellow-villagers
Giulio Spini, 1960, 1997
Camillo De Piaz, 1960
Piergiuseppe Magoni, 1972
Giancarlo Grillo, 1970
Ferruccio Scala, 1960
Mario Garbellini, 1970
Franco Monteforte, 1976
Luigi Festorazzi, 1985
Guido Scaramellini, 1986, 2005
Carlo Mola, 1988
Eugenio Salvino, 1988
Arnaldo Bortolotti, 1993
Raffaele De Grada, 1966,1987, 1989

Angelo Vaninetti is a paragon of pictorial morality, a morality which far from trampling on temperament, defends it from the assaults of fashion to take it to the more secure waters of everlasting art.

Those who wish to familiarise themselves with this territory (the Valtellina) but not as tourists in a superficial, ephemeral way as is mostly the case today should really look at and listen to the poetic whisper that comes from the paintings by Vaninetti, a painter and poet of the subdued, steady lights of the Valtellina, its lingering autumns, its reserved people armed with the endurance of living. Of this cult of things about to fade away and the secret feelings they inspire, Angelo Vaninetti is the priest and the apostle.

One should be brave enough to assert the full value of that testimonial of our time. Vaninetti, is an artist who puts back together (this is the sense of his message) the scattered fragments of the life in the Valtellina, as it has been handed down to us, by combining them, after stripping them of the trivia of existing things through the sacred fire of art (Vaninetti's painting is never merely naturalistic), in the context of a painting of the real - art that has flown down from the Flemings to Le Nains, Millet and Alberto Giacometti. Clearly enough, Vaninetti is a painter of our time, and his registers range from Soutine's dramatic illuminations to the acid tonalities to be found both in Morlotti's early paintings and in Alberto Giacometti's works. This dim vein, as thin as a mountain brook covered with bush, hidden like a bird's nest in the foliage, yet able to fix an object, a state of the mind or an existential condition as absolute memories, does matter in today's cultural environment. Angelo Vaninetti is present in many Italian and foreign collections. This must be said since his name is not to be found frequently in one or another of the many anthologies in which so many useless names are interspersed among those of some worth. The conclusion is that with anthologies or exhibitions of that kind Italian painting may well seem to have dried up. But this is not the case. Vaninetti is one of those painters, like Alberto Giacometti or Varlin, who let others indulge in literature while their expression is fully consumed and accomplished in their own art.
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