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
Luigi Santucci, 1972

In the works of art of the last few years, more and more entangled with conformism and adulteration, fears and bad faith, Vaninetti's painting is one of the few signs that have restored my consolation and hope. His sunflowers, for instance one of the symbolic foci, so to say, of his great love for nature, are so macerated, expressive and dramatic as to take on, in some of his paintings, the traits of pietas, true allegories of an almost sacred "Deposition". His recent stable doors, laden with winter and melancholy, are uniquely powerful in their bolt-locked dumbness. They not only have a rare, essential pictorial value, but an eloquence too that unveils the fate and patience of living beings behind that worm-eaten wood. That is why I can, as a storyteller, feel and enjoy Vaninetti's paintings so much, though they only seldom feature human beings. Against his "backgrounds" and among his "objects", there is the right climate to let man, that is the soul, move around.
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