di Mario Cappelletti
MASSIMO VINATTIERI 

MASSIMO VINATTIERI

Signa, 1956
“Thirty-five years of training”. So Massimo Vinattieri summarizes his long career as a painter.
A rather simplistic judgment that exudes the rigorous and relentless self-critical sense of this reserved and solitary artist, the polar opposite from the sometimes megalomaniac tactics of many of his colleagues. In truth all his work, from the seventies to the present, witnesses his genuine feeling of painter. A painter who, starting from fauve influences, through suggestive chromatics focusing on dualisms of yellow and red, has built dream and fairy worlds. Strong and vigorous visions that with the passage of time have stripped away every vehemence, leading to a lyrical abstraction made of chords suggested in a subtle range of colors silhouetted on a gray-almost transparent backdrop. Harmonic compositions, perhaps suggestions of objects or landscape atmospheres that appear as memory sediments that ineffably bring to the colors of the beloved Morandi or certain rarefactions of Music, but for their further disintegration look beyond the lesson of the two big inspirers.
A type of painting that has close ties with reality, but at the same time seems to keep wooing her away through metaphors composed of rhythmic and musical similarities and that due to their evanescence seem to go beyond the metaphysical 'sense', proposing a relationship with space so daring to challenge the sense of infinity.
Marco Moretti

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