19 04 ‘ 2020   museomag 
(1585-c.1643/44), another Florentine artist present in 
the collections of both the MNHA and the Haukohl 
family. Vannini worked in the figurative tradition of 
Jacopo da Empoli, Santi di Tito and ultimately Andrea 
del Sarto, showing a preference for clearly defined lines 
and compositions. In his paintings, every fold of fabric is 
studied from nature and precisely executed. The facial 
features of most of his figures are perfected through 
preparatory sketches of real-life models, while the 
sojourn of his teacher, the Florentine painter Domenico 
Cresti, seems to have resulted in a somewhat Vene- 
tian-style naturalism and warm tones of the flesh. 
Two recent acquisitions for the MNHA, a pair of 
portraits depicting Saint Luke and Saint John the 
Evangelist by Vannini, are a case in point. In the ex- 
hibition, they help give a balanced idea of Vannini’s 
qualities, where the more schematic, metallic character 
TEMPORARY EXHIBITION 
of the Haukohl collection’s Allegory of Meditation, 
attributed to Vannini and/or his workshop, would 
have left the viewer with an incomplete idea of his 
œuvre. The only still life in the exhibition, a painting 
by Bartolomeo Bimbi (1648-1730), is another mea- 
ningful addition from the MNHA collection, while The 
Liberation of Saint Peter by Simone Pignone (1611/14- 
1698) and Saint John the Baptist attributed to Cecco 
Bravo (1607-1661) complete the ensemble of six Floren- 
tine baroque paintings from the museum that are tem- 
porarily given more eloquence in the context of this 
show. In addition, three examples of the Venetian and 
Bolognese schools of painting (including a work by Guido 
Reni) from the MNHA provide useful contrast, enriching 
the experience of the many guests we hope to welcome. 
Ruud Priem 
© 
mnha/tom lucas