With Giardino barocco [Baroque Garden], Vanni enters a new phase of compositional rigor. Gone are the floating forms and atmospheric fields of his earlier Dutch-inflected works. Here, each geometric element presses against its neighbor, locked into a taut equilibrium. The figures, whether triangular, rectangular, or trapezoidal, share edges, resist hierarchy, and together form a compressed prismatic lattice, born of the same internal tension that first emerged in Inverno but now fully crystallized.
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With Giardino barocco [Baroque Garden], Vanni enters a new phase of compositional rigor. Gone are the floating forms and atmospheric fields of his earlier Dutch-inflected works. Here, each geometric element presses against its neighbor, locked into a taut equilibrium. The figures, whether triangular, rectangular, or trapezoidal, share edges, resist hierarchy, and together form a compressed prismatic lattice, born of the same internal tension that first emerged in Inverno but now fully crystallized.
This evolution does not abandon earlier impulses; it refines them. The vertical and horizontal grid still anchors the composition, echoing the structural logic of the Holland period, but the symbolic figures and mythic associations once suggested by Klee are stripped away. In their place, Vanni integrates the chromatic sensitivity developed during his studies with Albers.
A restrained palette of slate blue, lavender gray, dusty green, and ochre shifts subtly as it radiates from the center. These colors, arranged in steep diagonals and sharp-edged facets, pull the viewer’s eye inward and across, as if tracing the invisible forces that formed this imagined geology. At the core, a mirrored form reminiscent of a sculpted fountain introduces a delicate axial symmetry, quietly grounding the tension of the surrounding geometry.
In Giardino barocco, geometry becomes not just form but metaphor, an architecture of vision in which every surface, though flat, pulses with the tension of spatial implication.
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