Exponent of the return to figurative painting at the end of the seventies, in 1980 he participated in two public exhibitions on the latest trends in contemporary Italian art: at the Municipal Gallery of Modern Art in Bologna with the Nuovi-Nuovi by Renato Barilli and at the Loggetta Lombardesca in Ravenna with Italiana: the new image by Achille Bonito Oliva. Having become one of the protagonists of the “New Figuration” in the 1980s, Salvatori seeks a formal synthesis where figures and abstractions merge, creating the sensation of a work on language of a poetic nature.
In his expressive research he revisits Italian art and architecture of the twentieth century, especially Metaphysics. Through the use of pastel on canvas, born from a passionate reinterpretation of Italian art of the first forty years of the twentieth century, Salvatori creates paintings of architecture, still life and landscape, which underlie a poetics based on the opposition between nature and culture. and on the close relationship with the literary world, of which the artist shares projects and suggestions. Between 1987 and 1988 he moved on to the tempera technique, which allowed him to create works of larger dimensions, such as those presented at the Venice Biennale in 1990. His research proceeds in that formal synthesis between figure and abstraction, which will be perfected through all the works that will follow: here reality does not enter the art through a purely mimetic process, but is recognized and invested with new affections through a wise elaboration, even existential.
Giuseppe Salvatori has exhibited in many of the most important Italian research galleries, including La Salita by G.T. Liverani in Rome and Massimo Minini’s gallery in Brescia.
In recent years, the artist has deepened his research on subjects linked to myth and literature, in exhibitions such as Diomira , at the Marchetti gallery in 2006, or Angelo with peasants around the poet W. Stevens, at the House of Literature in Rome in 2008, and again, in recent years, Xanto from Homer’s Iliad , Galleria La Nuova Pesa, Rome, 2018 and la virgiliana Perseids at the De Crescenzo Gallery & amp; Viesti, Rome, 2018: “classic” and paradigmatic subjects, linked to the great cultural tradition of the West, but transfigured, thanks to a refined lyrical elaboration, into witnesses of feelings and fears, landscapes and visions of what we recognize as places of life.