TRASFIGURAZIONI: THE PAINTING OF VITTORIO RAINIERI 
BETWEEN TRUTH And IMAGINATION
of Simone Fappanni 

Vittorio Rainieri and figurative modernity: an image or best a comparison that renders the artist true and just the craftsman of just trying, in and on the surface of the support, the coloristica amalgam whom it generates I reverberate, the presence, the metabolic, germinativa expression, of the subject. And in this its to dig Rainieri sinks the look in the absolute depth of the decomposition; he jumps without fear to the inside of the representative space in order to make of the stage of its ammantate figures (charmed) of light. Reflected light - estroflessa - flessuosa, hinge and azimut of a mental parabola that it sweeps up and probe atmospheres that trace particular feelings and emotions. Vittorio, famous already to one before, the highly summarized observation of its is worked, it begins from the sign and from it it constructs shapes that ingigantiscono and make presences, you strike yourself that ritmicamente the steps of a story scandiscono, of a repeated and stopped moment in order always on the burlap. And when these geometries of light are opened, you turn and images of things show oneself within its unexpected planimetry, played amiably on antinomic counterpoints, then assert with great vigor those protender of the subject beyond the borders of fantastic - the surrealistic ones that in the onirica sphere they cover traced in which the matter is wavering substance, vision. From the first Rainieri tests it has already demonstrated of knowing to face the figurative speech through a goal-novellistic essenzialità of clear ideativa print, progressively maturing a expressive triangolismo - second the ancient adage for which the triangle it is synonymous of aspiration to the perfect equilibrium - than to the mere fisicità opposes the planimetric pure scansion, coming to an agreement itself with timbriche declinations moves from the interiorità. That famous, in particular, in the jobs where the postura is not never plastic, but is always made in becoming, would come to define it "in light motion". And this to insist of the painter on the posturale detail, sends back irresistibilmente to an articulate subdivision of the volumes, within which Rainieri it moves reaching to full hands from that incessant nature experiences them that us it seems the element symbol of this originates them author. As also indeed singular and resolutions are the light blades that often leak from immaterial sources and that sondano in deep the morbidezza of the incarnated one of its faces, the drapery of the indumenti and you concern us of the objects that popolano its inner, true and own ones pertugi where the artist tells - and are told - in a silent one protender towards one truth never betrayed or travisata. All how much, rather, appears and to scompare like in the mind of its modelle, imprimendosi in the memory as to wanting to try to confirm the wealth, but also the limit, human, of the materica oggettualità, nevertheless dreamming of not the degeneration. Here then that the daily paper from expectable becomes unforeseeable, in an pleasant one divertissement of approaches that render painting of Vittorio one true and own source of reflection. The same impression is had when it watches to the many natures dead women who it executes with the same trasfigurativo procedure, resting on neocubiste intuitions but also and above all on a very clear idea to often repeated he and in ours it converses: "my colors change to every hour of the day". And all this is the simple truth: its inks riversano an intense and warm light that could be compared, a lot probably, to a wrapping sweet and luminous bundle. Vittorio is therefore one of those artists to which the "astonishment" for sure and the probable one turns out congenital, indeed linfa on which being confronted continuously in the search, never exausted, on the detail, plastic the compositivo segment that the mixture of the color generates and penetrates docilely in the meshes of an ordered representative warp and. And it is just in that it is modernity of our painter, in its to turn itself without fear to the new one deeply believing in if same in how much always ready artist to the new one. Dr. Simone Fappanni (studious of art )

V.Rainieri has begun to be interested to the limbs figurative young with particular attention to the diagram, achieving since endured wide consents; later on it has begun to be interested to the landscape and the figure with a continuous technical new approach. Present to numerous artistic occasions has always achieved acknowledgments and prizes between first classify to you. Its works are present near numerous private collections and public agencies.
< < the figurali ancestries of Vittorio Rainieri very fish to wide theirs first expressive incidences: they have been in fact nearly parapsicologiche sollicitations to influence its graphical availability with images picked up in this unforeseeable emblematic cosmos and, from the first approaches to the arrival of the color, it has been an express to ollow itself of images, to geometrizzate times, vorticanti in atmosphere of mysterious even if very specified dense connotations of mysterious means to you. To pass from similar stall descriptive to the naturalistic compositions and to the landscape, the step even if tormented to the beginnings, has been precise express and; visions of the places, vaporose atmospheres of the Padania, scrape together panoranici of the Lowland have begun to popular the tavolozza of the Rainieri more and more vivida to evocative in the rimarco, in the emergent pungenze from those pingui external dense ubertosi and of ferments and fog! > > (C. d. To Licinio Dr. Boarini 1984)

Published from the Encyclopedia of Biennial Art year 1987 - 88 
Victor The Painter. I have assisted to give to the onslaught to the barricade of the painting hour seems to us just to say that a true painter is emerging.That that it counts is to taste the vision of an Art beyond the Art. To here of the times. Proposizioni theoretical, than the artist it does not try to hide behind to an easy one and anemic velario of a label purchè is. Our Rainieri. sinks in depth, its means in that land from the by now sterile surface, leaving from one line, apparently flat solo, designs from the pure scenografici effects; but when on those superficial ones vibrated it places them wrapped things and figu­re in just the color, that same color seems to receive, for ma­gico effect, an independent, changing vital impulse, to the point that the subject represented on its burlaps (accomplice the light of the moment) of it reinventa the reading like watching within a kaleidoscope, creating turns out you of reading always new. In the combusto same of how much there is of figurative and of informal, it brings of for if an existential heat, said sexual. But the point is an other and is the mystery of that light white woman who you ghermisce, pursued to you and provokes in you vertigos of abysses without bottom and here the uneasiness makes quite physicist, finchè... discovers enthusiastic the happy intuition of base from part of the artist who is that one to use of the light. Light, that it has I privilege concurred with little elements of trasfor­marsi in continuation. Element that digs, attenuates, intensifies the colors and illuminates the subject with poetici and unexpected aspects, in a word ribalta what he was originates it them compositivo order, extracting of one new, and therefore a al­tra still, also remaining in bottom always medesima.Secondo me all that escapes even to the creative tension of its author and to tra­dirlo it was a luccichio strange of astonishment that I picked in flagrant in its look, while it observed its last work, (Woman to the window) like if that work were not operates its, but of an other, a nobody or a wizard. (Ass. Cult. U. Zappavigna) Salsomaggiore Terme, lì 10.02. 1987

Doménica 12 Dzémbor alj ?ri 17,30 in-t-the Galarìa D' Ärte Spàsi ärt Imàgini to the Pit?r V.Rainieri the inàvgura ` na n?va mòsstra parsonälal in-t-the stòrica and muzicäla citè äd Crem?n' na. Vintén' na äd téli chì gnaràn the mìssi in espozisj?n, the saràn to caràtor figuratìv indò the sogét rapprezentè j' aràn ` na dominànta to say pòc caleidoscopica. Lùza srà protagonissta asolùda, ch' the here técnica chì parmettrà one to oservarà who täli esplozj?n äd col?r, to the verificäros of a stràn efét, to ògni ?ra from gi?ron lùza ch' the invèsta the òpra, càmbja, par reinventäron the letùra of hour par hour. In efétt to mesàgg' that to the Pitt?r to the sérca äd fär intuìr insomma I know téli the ìndica ` na ricérca on the temporaneitè dil còzi or the àtim fugént. Felìce Intuisj?n còlla äd mèttor in evidénsa momént äd riflesj?n cm?n, to mèttor the acént on cme to vòlti to goes the nòsstra atensj?n, sénsa savérol, on the ogét of nòstor desidéri indò par magìa of a ràg' äd lùza or of n' ?mbra, càmbjon notevolmén the percesj?n on the nòstor sintìr interj?r. Fòrsi the inamoramént or to sgomént the nàson from còsste? But!? To bél äd tutt còsste it it is in-t-al fàt that in cà a mòbil (acsì to definìssa sò òpri to the Méstor), äd clà portäda who ch' the contìnva in-t-al témp to ésor reinterpretè in-t-al témp. Cualitè còssta, than mìss in contrapozisj?n to the cuädor p' r acsì dìr, (clàsich) indò staticitè ädla rapresentasj?n to ` s férma wing sò the letùra nùda and crùda, läsa àmpi the spàsi to ` n sémpor and n?v coinvolgimént emotìv.