Esta lectura me dejó en un silencio profundo. Terminé respirando más despacio y recordando que, a veces, también necesitamos textos que nos devuelvan a la paz. Gracias, Vi.
Beautifully written. It feels less like an art review than a philosophical meditation on colour, silence, and absence. The ending is particularly memorable: Salvo didn’t paint a world without people—he painted a world at peace.
Beautifully written. It made me stop and think about art not as decoration, but as a way of seeing the world. Rare to find essays that linger after you’ve finished reading. Truly enjoyed it, thank you!
I wasn’t familiar with Salvo before reading your essay, and I’m genuinely grateful for that introduction. The title The Metaphysical Noon immediately drew me in. The more I think about Nietzsche’s “great noon,” the more fitting this connection to Salvo’s world feels a moment in which light reveals everything, leaving nothing hidden in the shadows.
What fascinated me most was that, despite being so deeply rooted in Italy, his paintings feel universal. Their light, warmth, silence, and the absence of people invite the viewer to step into this dreamlike world. Thank you for this thoughtful and thought provoking essay.
Vittorio, you write about art in a most lyrical way, more with the eye of a poet-artist, and I find it a very effective means to drawing in and captivating the reader, wanting to know more. You invite the slow and contemplative look, and reward the curious. There is art history and biography mixed with restrained emotional and psychological elements about the art and artist that are quite revealing when one takes time to approach the art as the artist does. The Christie's specialist's comment that Asians are drawn to Salvo's work is both fascinating and apt, as is your point about our need to find at the end of the day an "otherness" devoid of anything but nature and structures. I don't think Salvo's work would have nearly the impact it does had he included humans.
Salvo's use of the circular and other geometric shapes is notable. I like how you relate the work to Morandi also. I saw a few years ago a show of his work at the Phillips in D.C., a favorite museum of mine. One might think a large show of his paintings could become tiresome after a bit but it had the opposite effect. Much like looking at a Rothko, the more one looks, the more one sees.
Esta lectura me dejó en un silencio profundo. Terminé respirando más despacio y recordando que, a veces, también necesitamos textos que nos devuelvan a la paz. Gracias, Vi.
so beautifully written, and interesting too. You could make a book of these essays!
Beautifully written. It feels less like an art review than a philosophical meditation on colour, silence, and absence. The ending is particularly memorable: Salvo didn’t paint a world without people—he painted a world at peace.
So good! love his work
Beautifully written. It made me stop and think about art not as decoration, but as a way of seeing the world. Rare to find essays that linger after you’ve finished reading. Truly enjoyed it, thank you!
I wasn’t familiar with Salvo before reading your essay, and I’m genuinely grateful for that introduction. The title The Metaphysical Noon immediately drew me in. The more I think about Nietzsche’s “great noon,” the more fitting this connection to Salvo’s world feels a moment in which light reveals everything, leaving nothing hidden in the shadows.
What fascinated me most was that, despite being so deeply rooted in Italy, his paintings feel universal. Their light, warmth, silence, and the absence of people invite the viewer to step into this dreamlike world. Thank you for this thoughtful and thought provoking essay.
Vittorio, you write about art in a most lyrical way, more with the eye of a poet-artist, and I find it a very effective means to drawing in and captivating the reader, wanting to know more. You invite the slow and contemplative look, and reward the curious. There is art history and biography mixed with restrained emotional and psychological elements about the art and artist that are quite revealing when one takes time to approach the art as the artist does. The Christie's specialist's comment that Asians are drawn to Salvo's work is both fascinating and apt, as is your point about our need to find at the end of the day an "otherness" devoid of anything but nature and structures. I don't think Salvo's work would have nearly the impact it does had he included humans.
Salvo's use of the circular and other geometric shapes is notable. I like how you relate the work to Morandi also. I saw a few years ago a show of his work at the Phillips in D.C., a favorite museum of mine. One might think a large show of his paintings could become tiresome after a bit but it had the opposite effect. Much like looking at a Rothko, the more one looks, the more one sees.
Hi Maureen, thank you so much for your kind words. It means the world.
My pleasure, Vittorio.
Wonderful read!