Salvo: Il trionfo di San Giorgio

Salvo: Il trionfo di San Giorgio


Salvo, Il trionfo di San Giorgio, 1974. Pastel on paper on canvas, 270 x 760 cm. Courtesy of Mazzoleni, London–Torino.

June 10, 2024
Salvo: Il trionfo di San Giorgio
June 13–16, 2024
Art Basel
Messepl. 10
4005 Basel

In Art Basel’s Unlimited Sector, Mazzoleni presents Il trionfo di San Giorgio (The Triumph of Saint George) (1974) by Salvo. The over two and a half metres high and nearly eight metres long, d’après Carpaccio, was exhibited at Galleria Franco Toselli in Milan in 1974 and two years later at the 37th Venice Biennale. This exceptional work marks a fundamental milestone in Salvo’s career and will also be a highlight of the most extensive exhibition dedicated to the artist since 2015 at Pinacoteca Agnelli (Turin) this autumn.

Salvo’s return to painting in 1973 was fuelled by his passion for past masters, particularly those of the Venetian Renaissance. Salvo translates their subjects into simplified compositions, with rarefied atmospheres, focusing solely on the mythical image. This is demonstrated in his extensive research into the classical iconography of the Christian hero Saint George, as depicted in Il trionfo di San Giorgio

Within the Galleries Sector, Mazzoleni presents a group exhibition entitled Magnificent Symposium. This exhibition offers a unique opportunity to explore five leading Italian artists spanning two generations: Giorgio de Chirico (1888–1978), Alberto Savinio (1891–1952), Salvo (1947–2015), Giulio Paolini (1940) and Michelangelo Pistoletto (1933).

Exploration of their work will centre around the theme of myths and legends, uncovering the similarities and divergences that arise from the distinct languages each artist adopts and the consequential narrative attitude of mythical, symbolic and dreamlike elements.

Works by Giorgio de Chirico demonstrate his deeply nostalgic interest in the classical past, extensively utilising mythological themes in his works. Born in Greece to Italian parents, de Chirico and his older sibling Alberto Savinio, were immersed in Antiquity, classical mythology, art and history from an early age. Reminiscences and references to art history and civilisation’s Golden Age permeated both artists’ oeuvres, exemplified by de Chirico’s notable work Il pittore paesista (The Landscape Painter) (1958). Giulio Paolini whilst often associated with the Arte Povera movement, is also known for his conceptual practice that cites works from the past as a self-referential reflection on art history. A key example is L’altra figura (The Other Figure) (1983), consisting of two classical plaster casts of an earlier Hellenistic bust, between which lies thirty-three fragments of a third identical bust. Michelangelo Pistoletto for his part, uses myth as a tool to create allegories exploring the relationship between the individual and contemporary society.

Mazzoleni at Art Basel 2024 / Messe Basel, Basel, Switzerland: Galleries, Booth E19, Hall 2.0  / Unlimited, U54, Hall 1.0.

VIP days, vernissage: June 10 (Unlimited), 11, and 12 (by invitation)
Public days: June 13–16
Press release /

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June 10, 2024

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