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
Gritzko Mascioni, 1985,1987

An anomalous painter in a world of would-be artists, most of them conformist, his trueness to himself and his world of sentiments would be enough to make him an intriguing figure. What is more is that he is a painter of standing in an age that stubbornly endeavours to forget painting. Yet, it is an age that is urged by the perennial power and necessity of painting itself (perennial, at least, as far as I know, since the days of the masterpieces at Lascaux and Altamira) to rediscover it time and time again. Even in Angelo Vaninetti's secluded, though quite meaningful work.

His way of painting is probably unique: Angelo Vaninetti is a genuine poet, one of those who are poets even despite themselves. Time has also made him witness to a lesser civilisation which is big inside. His paintings send out a subdued echo of mountains and valleys long ago, which will project into the future the memory of how we used to be. Vaninetti's paintings are there to prove that living and doing is worthwhile. All that is enough to convince me that his paintings are here to stay, by virtue of their being art and by decree of time.
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