Viewing Room

In a surreal simplicity, combining the rigor of De Chirico and the naivety of Rousseau, Salvo’s bright and graphic patterns can be placed in the grey zone between abstraction and figuration. In this mystical limbo his talent appears, looming over the luminescent and enchanted landscapes portrayed in each and one of his unique paintings.

As one of the historical exponents of Italian Arte povera, Salvo (Salvatore Mangione, born Sicilian and Turinese by adoption) elaborates his unmistakable style of painting that ultimately does not belong to any precise pictorial movement but that has inevitably influenced many of today’s contemporary artists.

San Frediano in Cestello | oil on canvas | 40 x 30 cm

Senza Titolo | 1980 | oil on canvas | 30 x 24 cm

“I was literally won over by painting: it is something that gives me space, that opens up knowledge, ideas.”


Untitled 1980 ca | oil on paper | 31.5 x 24 cm

Cézanne, Rousseau, the Fauves. The iconographical library that inspires Salvo’s subjects is certainly a vast one; his linguistic expression is in its various aspects the result of comparison and reflection with regard to other time- honoured languages that have somehow disintegrated and been transformed out of recognition, as though by magic. Nevertheless, we can definitely say that the constants in his means of expression are the interplay of solids, a sense of stupefaction and enchantment, a vivid palette, pure ‘nature’.

Salvo | Senza Titolo | 1982/2002 | oil on canvas | 38,5 x 30 cm

Paesaggio 1988 | pastel on paper | 30 x 20.5 cm

“I have always liked the ambiguous aspect of things: false primitivism, false naivety, false uncultured and false stupid, because I find everything that is consciously intelligent or technical extremely annoying. It leaves no mystery…”


Artist Salvo next to his work 'Novembre a Venezia', 2005 ca
Salvo | Senza Titolo | 1998 | oil on canvas | 35,5 x 25,5 cm