MARTINA VANNI
 
ARTISTA OPERE MOSTRE IN ASTA
 

Vanni Martina is a painter but he sees himself more like an architect of portraits where a controlled inspiration of the human image is present. In his characters, some of them very famous, one could find a deep demand of peace and, at the same time, a sense of pictorial symphony, more typical of an orchestral composition. While his paintings speak a simple language, they result seductive in their shy majesty. As Marcel Proust would say, Martina is always: " A la Recherche du Temps Perdu " until he‘ll reach through images the "Regained Time" There is always in his artistic creation a poetic that recalls a " Voice of Silence". He paints love and grief, and in the subjects of his portraits you can feel a painting emotion that reminds you, in an expressive way of pictorial tradition from Renaissance. He is a physician but became a painter, living painting just as a past master would do in Picasso‘s century. Once he told me: " All my creations recall my portrait " , indeed they are all painted accurately and thoroughly, as if they were close relatives, remarkable faces that carry in their colours the light of today, with the hidden unease of his models. Sometimes, he looks for goodness and sweetness in people‘s eyes, building a case of colours in his own way, but always revealing all blush and pale shadows present in the characters that he psychoanalyzes through his painting. Nevertheless, according to Martina, with regard to his work, it is only proper to talk of portrait art. Pure and aristocratic painter, he doesn‘t seek fame, as some overseas artists would do. I think that according to him the Creation of the World happened in the darkness and from the inside out. This explains why he prefers to paint his characters during the night, with the fixity of a medianic projection in the immeasurable and mysterious emptiness, as unknown aliens. These are paintings that through their hudden universe, can take us from the painted characters to the sky, challenging time as in Parisian can-can, where his pictorial paste impetuosly whirls, so that sometimes you can feel it burning, sparkling and puffing, in an hidden way, with sprinkles of colours surrounding the character on canvas, with metrological grimaces. They irradiate a halo of friendship, and Martina immerses himself in painting as his personal element. he looks with a quiet eye at the sight of an untouched canvas, that provides the same attraction of a large window. A measuring glance that rapidly inspects and examines his model, and then he collects himself in front of the white canvas ready to dive into the colours.

 
 
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