 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
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Nazareno Fabretti, 1961, 1972
I can hardly remember such a direct, restrained relationship between a painting and a land. I soon realised that, at last, thanks to this painter, whom I had met just a few hours before, I could believe again in a fact that all mainstream critics and painters have been ashamed even to mention inspiration. After decades of painting for painters and critiquing for critics, here comes painting for everyone. Without denying anything of its own language or style, this painting knows how to stimulate the better part of ourselves, the part that has remained consecrated to poetry and simplicity. After Morandi, Tomea and Rosai, after a number of excellent masters and numberless anonymous imitators, it was dangerous again to face the world, the reality and the symbols of humble, finite things so stubbornly. For the sake of simplicity the outcome might have been simplism. Under the pretext of spontaneity, mannerism might have been the end of the story. Yet, the whole of Vaninetti's world is true reality and the truth, both at the same time, that is to say chronicle and transfigurations of the things he favours most: oil lamps long forgotten in an attic, lanterns of farmers and shepherds, Alpine huts in the mountains, stables in the valley, a homely, mysterious undergrowth, dying sunflowers, and the most gentle, gratuitous flowers are all things that, in his and in our own eyes, summarise a world threatened with extinction, the colour and enchantment of which the painter has been able to tie up for ever. That is why Vaninetti's painting is not there to be deciphered or discussed. It is to be looked at - and to be listened to.
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