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
Walter Birnbaum, 1975

Attempts have been made to catalogue Vaninetti's unique, unrepeatable figure as an artist within a certain scheme, by saying that he appears to indulge too much in the motifs of his land of origin, the Valtellina. This is an inaccurate statement, though, because it only interprets his art in a superficial way. True, Vaninetti's paintings often depict time-worn articfacts of the Valtellina: candlesticks, bowls, rustic objects, but these are the objects that surrounded him in his youth, the first things to touch his heart. He creates so that the intense piety for all things poor catches us any time we abandon ourselves to Vaninetti's works, and opens our eyes to the essence of this art: here lives a Franciscan love. Franciscan love, with which simple things are looked at, and even withered, fading things, always generate a hope or a transfiguration. The inspiration came, as it does for many artists, from tapping the springs of his land, the Valtellina. It almost becomes unnecessary to add how masterfully Vaninetti conveys his spiritual experiences. He paints at great liberty, starting from colours, and colours are light in themselves. Everywhere one can detect skilful chromatic scales, the most refined shadows, so that watching such a harmony of hues is a thorough joy in itself.
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