Salvo in Turin, 1974. Photo: Paolo Pellion di Persano

Salvo in Turin, 1974. Photo: Paolo Pellion di Persano

 

Salvo (1947–2015) was an Italian Conceptualist in dialogue with the burgeoning Arte Povera movement before his practice dramatically shifted in 1973, when the artist turned decisively to figurative painting. His oil paintings embrace the aesthetics of traditional art histories, from Giotto and Botticelli to Italian Futurism and Surrealism, employing flat geometric forms and rich colors that draw attention to the artifice of his ethereal landscapes and cityscapes.

 

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Born Salvatore Mangione, Salvo came of age as an artist in Turin during the 1960s, a time when the city was home to a vibrant and radical avant-garde community. There, he became close with Alighiero Boetti and moved in circles alongside Mario Merz, Giuseppe Penone, and Gilberto Zorio, developing an experimental conceptual practice that employed text and photography as its foundation. His work from this period is analytical and art historically minded, including Autoritratto (come Raffaello) (1970), a piece that restages an important self-portrait by the Italian Renaissance artist Raphael, and his headstones series (1970–72), which feature words and phrases derived from literary and poetic sources that evoke the transience of life. Despite receiving significant recognition for this work, participating in the prestigious Documenta 5 in 1972, Salvo made the profound and deeply original decision to devote his practice exclusively to oil painting.

For more than forty years, Salvo painted surreally colored and highly imaginative compositions of pastoral countrysides, folkloric and religious imagery, and fantastical ruins that recall classical capriccios. His artistic practice repeatedly features motifs of lush trees, billowing clouds, and imposing mountains, reducing such imagery to its most concentrated form. When representing man-made constructions, Salvo portrays such structures in harmony with the natural world; the tension of the work lies instead between soft, curvy lines and harsh, sharp ones. His paintings are infused with a sublime brightness that gives each piece a contemplative atmosphere. Serene and dreamlike, Salvo’s polychromatic paintings reinvigorate our perception of the world around us.

 

Salvo
Arrivare in tempo
Pinacoteca Agnelli, Turin, 2024

 

Works

Salvo
Primavera, 1994

Salvo
Primavera, 1994
Oil on canvas
200 × 200 cm | 78 3/4 × 78 3/4 inches

Salvo
La città, 2013

Salvo
La città, 2013
Oil on canvas
38 × 60 cm | 15 × 23 5/8 inches

Salvo
Alba 2000, 2002

Salvo
Alba 2000, 2002
Oil on canvas
60 × 45 cm | 23 5/8 × 17 3/4 inches

Salvo
Dicembre, 2006

Salvo
Dicembre, 2006
Oil on canvas
40 × 50 cm | 15 3/4 × 19 3/4 inches

Salvo
Novembre, 2004

Salvo
Novembre, 2004
Oil on cardboard
71 × 50 cm | 28 × 19 3/4 inches

Salvo
Una gita in montagna, 2007

Salvo
Una gita in montagna, 2007
Oil on canvas
50 × 70 cm | 19 3/4 × 27 5/8 inches

Salvo
L’Etna visto da Taormina, 1992

Salvo
L’Etna visto da Taormina, 1992
Oil on canvas
80 × 100 cm | 31 1/2 × 39 3/8 inches

Salvo
Untitled, 1991

Salvo
Untitled, 1991
Oil on canvas
69 × 59 cm | 27 1/8 × 23 1/4 inches

Salvo
L'alpe, 2005

Salvo
L'alpe, 2005
Oil on masonite
60 × 50 cm | 23 5/8 × 19 3/4 inches

Salvo
Untitled, 1992

Salvo
Untitled, 1992
Oil on canvas
60 × 45 cm | 23 5/8 × 17 3/4 inches

Salvo
23 siciliani, 1977

Salvo
23 siciliani, 1977
Tempera and pencil on geographic map
40 × 45 cm | 15 3/4 × 17 3/4 inches

Salvo
Salvo Tricolore, 1973

Salvo
Salvo Tricolore, 1973
Tempera on newspaper
43 × 59 cm | 17 × 23 1/4 inches

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Details

Salvo
Primavera, 1994
Oil on canvas
200 × 200 cm | 78 3/4 × 78 3/4 inches

Salvo
Primavera, 1994

Salvo
La città, 2013
Oil on canvas
38 × 60 cm | 15 × 23 5/8 inches

Salvo
La città, 2013

Salvo
Alba 2000, 2002
Oil on canvas
60 × 45 cm | 23 5/8 × 17 3/4 inches

Salvo
Alba 2000, 2002

Salvo
Dicembre, 2006
Oil on canvas
40 × 50 cm | 15 3/4 × 19 3/4 inches

Salvo
Dicembre, 2006

Salvo
Novembre, 2004
Oil on cardboard
71 × 50 cm | 28 × 19 3/4 inches

Salvo
Novembre, 2004

Salvo
Una gita in montagna, 2007
Oil on canvas
50 × 70 cm | 19 3/4 × 27 5/8 inches

Salvo
Una gita in montagna, 2007

Salvo
L’Etna visto da Taormina, 1992
Oil on canvas
80 × 100 cm | 31 1/2 × 39 3/8 inches

Salvo
L’Etna visto da Taormina, 1992

Salvo
Untitled, 1991
Oil on canvas
69 × 59 cm | 27 1/8 × 23 1/4 inches

Salvo
Untitled, 1991

Salvo
L'alpe, 2005
Oil on masonite
60 × 50 cm | 23 5/8 × 19 3/4 inches

Salvo
L'alpe, 2005

Salvo
Untitled, 1992
Oil on canvas
60 × 45 cm | 23 5/8 × 17 3/4 inches

Salvo
Untitled, 1992

Salvo
23 siciliani, 1977
Tempera and pencil on geographic map
40 × 45 cm | 15 3/4 × 17 3/4 inches

Salvo
23 siciliani, 1977

Salvo
Salvo Tricolore, 1973
Tempera on newspaper
43 × 59 cm | 17 × 23 1/4 inches

Salvo
Salvo Tricolore, 1973

Details
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Exhibitions at Sprüth Magers

Salvo, Andreas Schulze
About Painting
May 30–August 2, 2025
Los Angeles

The paintings of Andreas Schulze (*1955) and Salvo (1947–2015) depict intriguing worlds unlike any other. Across vibrant landscapes and eccentric interiors, their unique conceptual approaches to painting evolved over decades of experimentation with color, light and form. Monika Sprüth and Philomene Magers are proud to present an exhibition of new works by Schulze alongside paintings by Salvo, bringing into focus their parallel contributions to the discourse of contemporary painting and their deft manipulation of paint to depict shifting spatial and light effects. The exhibition’s presentation at the Los Angeles gallery brings into focus this particular concern with light and space—a feature so prevalent in the history of modern art in Southern California, from its impressionist, plein-air roots to the reflective plastics and resins of the 1960s onward.

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Salvo, Andreas Schulze
About Painting
November 12–December 20, 2024
London

The paintings of Andreas Schulze (*1955) and Salvo (1947–2015) depict intriguing worlds unlike any other. Across vibrant landscapes and eccentric interiors, their unique conceptual approaches to painting evolved over decades of experimentation with color, light and form. Working in Turin, Salvo made a radical departure from Arte Povera circles, first to text-based conceptual art and then in 1974 to painting that looked to art historical traditions from Giotto to Surrealism. In Cologne in the 1980s, Schulze developed a practice that balances representation and abstraction and draws also from the past, while infusing his surreal scenes with humor and irony. Monika Sprüth and Philomene Magers are proud to present an exhibition of new works by Schulze alongside paintings by Salvo, bringing into focus their parallel trajectories and contributions to the discourse of contemporary painting. Originally conceived by the late Pasquale Leccese, who knew both artists intimately, this exhibition is dedicated to his memory.

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Arte Povera and 'Multipli' Torino 1970–75
Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, Salvo, Gilberto Zorio
Curated by Elena Re
September 18, 2014–April 2, 2015
Berlin

In 1970 Giorgio Persano opened 'Multipli', his first gallery in Torino. 'Multipli' was exceptional for its time. Working with Arte Povera artists and with other Italian artists linked to the conceptual art of the era, 'Multipli' produced a significant body of multiples from 1970 to 1975.

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Press

Salvo in Turin: Eine Reise durch ein vergangenes, magisches Italien
Monopol, article by Boris Pofalla, January 26, 2025

Seine Bilder sind fast zu schön, um klug zu sein
Die Welt, article by Adriano Sack, December 22, 2024

SALVO “Arriving on Time” at Pinacoteca Agnelli, Turin
Mousse Magazine, November 25, 2024

Salvo (1947–2015)
Art Forum, article by Marco Meneguzzo, December 15, 2015

Biography

Salvo (1947–2015) lived and worked in Turin. Solo exhibitions include Pinacoteca Agnelli, Turin (2024), Museum of Contemporary Art, Rome (2021), Museo d’Arte della Svizzera Italiana, Lugano (2017, with Alighiero Boetti), Museo d’Arte Contemporanea, Lissone (2015), Galleria d’Arte Moderna e Contemporanea, Turin (2007), Galleria d’Arte Moderna e Contemporanea, Bergamo (2002), Musée d’Art Contemporain, Nîmes and Museum Boijmans van Beuningen, Rotterdam (both 1988), Kunstmuseum Lucerne (1983), Mannheimer Kunstverein and Museum Folkwang, Essen (both 1977). In addition to participating in Documenta 5 (1972) and the 1976 and 1984 editions of La Biennale di Venezia, recent group exhibitions include Kröller-Müller Museum, Otterlo, The Netherlands (2023), Kunsthaus Glarus, Switzerland (2022), Castello di Rivoli, Turin (2021) and Menil Drawing Institute, Houston (2020).

Public Collections
CAMeC – Centro Arte Moderna e Contemporanea, La Spezia
Centro per l’arte contemporanea Luigi Pecci, Prato
Collezione Fondazione Cassa di Risparmio, Bologna
Collezione Gallerie d’Italia, Banca Nazionale Intesa San Paolo
Collezione La Gaia, Busca, Cuneo
Collezione Maramotti, Reggio Emilia
Collezione Palazzo Bentivoglio, Bologna
Collezione Parlamento Europeo, Brussels
FER Collection, Ulm
Fondazione Sandretto Re Rebaudengo, Turin
GAM Galleria Civica d’Arte Moderna e Contemporanea, Turin
Klassik Stiftung Weimar
MART Museo d’arte moderna e contemporanea di Trento e Rovereto, Rovereto
MAMbo Museo d’Arte Moderna di Bologna
Museum of Modern Art, New York
Museo del Novecento, Milan
Museo Mario Rimoldi, Cortina d’Ampezzo
Museo Riso, Palermo
Museum Boijmans Van Beuningen, Rotterdam
National Gallery of Australia, Canberra
Walker Art Center, Minneapolis