For several reasons Vainer Marconi stands out as an engraver: for the continuous production aimed at improving, for the good technical skills, for the humility with which he considers himself an engraver, for the personal vein that, beyond the surface of noble eclecticism, is always identifiable. This vein is that of a transfiguring and poetic realism: human figures, but above all landscapes, skies, trees that melt into composite geometries to suggest other images, other fantasies.
Marconi is a pure etching artist and loves dense and crossed signs. The hatching as a key of representation is of dangerous use, because it easily falls into the banal, the already seen, into the emptiness of emotions. Marconi knows how to avoid this danger. His sign is rich and lively, a right dose of regularity and intuition. And another reason why ours can be called an engraver is the ability to self-criticize: not everything that comes out of the acid tank pleases him. Numerous are the plates discarded or modified, numerous times that he deals with the same theme to the point of believing that he has reached a satisfactory representation.
Who are Marconi's fathers? But is it really so important to know that he was a pupil of Manaresi? That he kept an eye on the master's solutions is evident, as well as, however, that he reached a capacity for expression of his own, which is realized in tasty layouts both of small plates, which escape from the palm, and of zinc cuts that occupy the whole sheet. And in front of its countless sheets, one often has the pleasant sensation of beauty. Many are unable to do the same.