Salvetti Fulvia 's Gallery


Born in Taranto (Italy) in 1946, a degree from Artistic Liceo of Ripetta Street in Rome specialising in art subjects under the guide of artists like Caporossi, Turcato, Lazzaro, Cannilla and Consolazione.
With a degree from BBAA Accademy of Rome with top merit. She has partecipate in many collective exhibitions.

1978 at the “Il Camino” gallery in Rome;
1987 & 1988 at “The School of D’Acchille” in the Town Theatre gallery Fiuggi;
1988 at “The School of D’Acchille” Pratola Peligna;
1988 at “Dulcis Inn” Rome;
1989 at “SANOE” headquarter in Rome;
to other specialized exhibitions for group of peinter in exposition room such as in the 1978 at the S. Rosa National Competition, Velca d’Oro prize;
1983 at the Braccianense Summer Art Parade Bracciano (Rome);
1979 at “The Turtle Gallery” a personal exhibition held (Rome);
1980 at the “Fleming Room” Rome;
1981 at the “Town Gallery” Campobasso;
1982 at the “Il Faro Gallery” Taranto;
1983 in the “Prefecture Palace“ Bracciano;
1990 at “Town Hall” of Capalbio;
1990 at “Flori Gallery” Viareggio;
1990 at “Aragonese Castle” Taranto;
1992 at “S.Severa Castle” S. Severa (Rome).
Recognitions come from italian collectors where her paintings are part of important private collections.


FULVIO ABBATE (Art critic).

Figures of FULVIA SALVETTI over the nakedness that characterize them, seem woven eulogy of the shadow; seem charge themselves of the weight of the abandonment; an interior abandonment, I mean, that anywhay become the poetic meaning more substantial of these works.
Sometime in these very works are added lean signs, small graffiti; a sort of diary that surface and contras, here and there, the field that holds the figure. And it is a matter of an emotional supplement, a further indication of the restless charge that the artist wants to show.
Chromatic tones are typical of her interior monolog, or better we are considering them so; are tones now sandies now leavened toward an azure that get lost into a grey. This tones become, at the same time, patina and substance of the figure.
They get lost in the shaded, and doing that, put immovable theatricality of each figure into a after-story, into a space that still is , and it will be for ever, the dreamy space, but also sleepless, of the memory or perhaps, eternally of the introspection.

TILGHER M. (Art critic).

The chromatic composition, the amalgam almost diaphanous either in the drawing or in the colour, in the naked, in the figures, in the landscapes, reveal a sort of waiting for the vital act moment.

COVIELLO G. (Art critic).

That’s painting in which the principal strenght has to be found in a transparent interiority, veined of melancholy and of thin existential anguish.

FORNARI L. (Art critic).

The woman in Salvetti paintings are seen like a reflection in a mirror, a little damaged but in condition to express clearly fundamental features.


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Picture 6

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