The Mythology of the Present
byGianluca Tetaldi

Vanni
Criticism

The choices of contemporary painters can vary in an extraordinary way and, indeed, the style is basically conceived as the ability to find an unprecedented expressive system. This style, however, has a cultural depth that determines its vitality: the happy but external gimmick only lives the season of its first appearance, then becomes repetitive. Many styles, it is true, but some fundamental basic choices characterize the painting of the modern era. First of all, simplification, the search for the essential; it can reach the limit of geometry, abstraction, minimalism. Fascinates because the truth is simple and beauty, after all, is. Another mermaid of modern culture is color spread over large backgrounds, where the suggestive ability of chromatism can expand and involve the viewer; dimensions also help to achieve this fascinating effect. Color is feeling and today everyone is wondering about the best way to not lose the ability to get excited, asking art for decisive help. Finally, our culture continually comes to terms with history and, in particular, art does it with classicism and mythology; painting is not alone in dialogue with the ancient: mixed with myth are psychology, literature, politics itself. Vanni has a pictorial way in which these pillars are right at the center of the expressive structure. The artist manages to naturally combine three qualities that, due to their communicative strength, could also tend to overwhelm themselves: shape, color, balance are the first actors who tend to have the scene all to themselves. In the artist's paintings it seems that the three strong ethnic and historical components of classicism, of the East, of Norman rigor, harmonize, as in the culture of southern Italy. The compositions of his works are easily assimilated to clear geometries; the lines are reduced to essential borders of vast territories or "kingdoms" where a very intense color dominates - which would be said to be sensual if they did not have such a meditative quality. With a "rested" drawing and sober volumes, the objects acquire the consistency of characters, as in metaphysical painting and - through the mediation of the "Greek" De Chirico - perhaps Vanni went to the places of classicism to find the signs of what is not it has changed because it is persistence that distinguishes myth from transient events. Finally, a reference to the artist's drawing and his graphic production. In this field the vigor of the stroke is highlighted with much greater clarity than the pictorial impasto. Furthermore, the sign is constructive, almost architectural; the vibration of the hatching that saturates the shutters shows a temperament that looks like the other face of a modern classicist, his romantic soul.

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The Lights of the Cyclades

From "Latina today" of 14 May 1993
Criticism
“I love these places made of white, of sun, of harsh and ancient images like the land where the Gods lived, giving paganism to the men of that time and to us the regret of the past”, says Vanni. In this series of works, the artist, ... ➔

The Mythology of the Present

From "Arte in corso" of 31 October 2006
Criticism
The Vanni art - in which the three strong ethnic components of southern culture seem to merge: classicism, the East and the Norman - is above all marked by the great descriptive capacity and sensitivity that shows his making art in ... ➔

Impressions, signs and talents in the history of man

From History and Culture of "Chronicle Eugubina of 13 September 2019"
Criticism
Vanni's pictorial exhibition is dedicated to the messages and feelings conveyed through the COLORS. On this occasion, the Master had the opportunity to discuss the emotional encounter between art and man in an artistic seminar. In particular, ... ➔

TRAVELING BETWEEN VENICE AND THE AEGEAN SEA

From the newspaper Il TEMPO of February 28, 1996
Criticism
After a long artistic stay in France and Belgium, Vanni proposes a pictorial journey particularly dear to him: an ideal journey from Venice to Naxos. The Master's color palette was prepared for the occasion to accommodate a synthesis ... ➔

With Vanni on display the colors of Greece

From the newspaper "L’E’CHO of Brussels of 2 May 1997
Criticism
In Brussels of 2 May 1997 Vanni, after having completed his first artistic studies in Rome, enriches his pictorial career in Paris where he lived for several years attending, therefore actively living, the artistic world of the French ... ➔

Two notes on Vanni's works and poetics

by Marcello Pecchioli
Criticism
Let's talk about color, colors and landscapes. Vanni's images have to do with the brightness of Mediterranean landscapes, with a chromatic palette that we find in the sea views, in the corners and in the ravines of a nature not violated, ... ➔

The Mythology of the Present

byGianluca Tetaldi
Criticism
The choices of contemporary painters can vary in an extraordinary way and, indeed, the style is basically conceived as the ability to find an unprecedented expressive system. This style, however, has a cultural depth that determines ... ➔
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