“Flexible, peaceful painter, he expresses himself in soft circles of shadow and light.

He tries to guess the bit of suggestion, the short and intense vibration of thought.

Shades of perceived sweetness and experienced emotions.

Summary of feelings ( developed when the painter was particularly sensitive), which sum up into a romantic and evocative story.

Throughout Jannitti’s works, you can catch a sort of expectation, a need of changing his mind, a pursuit of a calm harmony.

Even tragedies and woes seem to calm down in a chromatic harmony, through the softness of the colours and the sweetness of the subjects.

Time becomes ingrained in space and you sometimes think to be in a story where space is timeless, that is ideal and idealized space, a kind of space dwelt in a sort of astonished and contemplative remarks , like magic implications.

Landscapes and figures are not stand-alone stories for Jannitti, but they appear like a unanimous dialogue growing constantly; they are matching pieces that create a delicate texture throbbing between nature and mankind, vision and imagination.

Through this sensibility, these feeble lights which sometimes condense and sometimes become rarefied, through his softening colours and drained horizons, Jannitti’s landscapes convey moody feelings.

In his figures there is a veiled astonishment, a bent for accepting the events according to fate. In other words there is a life that grows inside us like a glimmer that either opens into hints of smile or fleeting glance or resting limbs.

Simplicity and pureness are in Jannitti’s works: a kind of healthy way of life which is a pause of harmonic trepidation in a stormy life like ours. Maybe his paintings are a trip back in time, in a site of the earliest memories, along pathways of forgotten nostalgia, in spots of dim sorrows that change into soft and sensitive colours when you evoke them and that don’t pain you but they help you to live through soft facts in a sweet removal of dreams “.


“Various shades of green, light blue, yellow and his light hand that engraves details, nuances on the canvas and harmonizes the subject giving it the leading role of the work. Reddish spots here and there, earth-coloured areas. There is still a prevalence of details, the clarification of some areas of the painting which are decisive for your sight and for the meaning of the content.

The landscapes, that are Mario Jannitti’s leitmotif, appear in a new, far away light, very different from the meaning commonly given to this artistic expression.

The skies, striped with soft white, are break commas up above the canvas: in this way they are less important than the subject below, but when they become wider, they express the greatest depth of the landscape below so that they remind us the environment where we live. The subject that recurs but which is always different in Jannitti’s paintings, is the cause, the basis of the speech, but actually sensation is not only the aim of his art, but also the deeper meaning of his subject and Jannitti suggests a kind of language that is not only explanatory. You can “hear” his paintings and its modulated tones of voice that spell out the words of this original talk, get deeply to the heart of the audience.

Jannitti’s paintings tell us the wonderful story of nature, of its creatures, of its enchanting landscapes that show all their beauty; everything kept in an aura of poetry.

It ‘s an old story that this artist offers again, and the notes of this anthem are so high that the deafening noise of the modern techniques undoes in them; the ruin of nature shows its enormity and reminds us to respect the world around us.

Mario Jannitti learned the elements of culture through the School of Art, but he soon needed to free himself of those ties to look for his own figurative language.

His skill in developing his own interpretation and a new positive language outside the norms, ( even though he uses tools and works out classical themes), was born from his strong will.

His novelty is in something new that Jannitti says in a simple way and incisively.”