Fashion and artistic beginnings (1950s)
Born in 1928 in Ortezzano, a lively town in the Marche region perched atop a hill, Savini left for Milan at just 18, eager to embrace the world beyond his native town. These post-war years were filled with experimentation, as Savini immersed himself in various artistic fields. A young man with a deep passion for all forms of art, he engaged with Milan's cultural scene, enrolling in the Filodrammatici Acting School, exploring poetry, and stepping into theater.
His curiosity knew no bounds. Fashion, drama, and prose were just the beginning; he wanted to experience it all. He studied at the School for Model Makers, and his rise in the fashion world was swift. He became a sought-after designer in Milan’s top fashion houses, yet something within him stirred unease. Despite this success, his artistic spirit yearned for something deeper, and by the late 1950s, he turned his attention to painting and graphic arts.
Savini’s early works were displayed at Milan’s Circolo degli Artisti and Sala del Disegno in Brera, where he received awards for his paintings. But it was not just Milan that inspired him—it was travel that truly opened his eyes to the world of art. He split his time between fashion and traveling through Europe (Germany, the Netherlands, and France), soaking up the vibrant art scenes of the time. In Paris, he frequented museums, galleries, and painted outdoors. The city's energy, especially around Notre Dame and Montparnasse, infused him with inspiration.
"The experience of living with those young people served me, perhaps, to mask the real famine I was going through, a financial crisis completely unrelated to their idealistic struggles, but we formed sincere, friendly bonds," he said.
Years in Greece and Painting (1963-1967)
In 1963, Savini was invited to Athens by Ioannis Georgakas, founder of the renowned Minion department store. He moved to Greece with his young wife and infant daughter, ready to take on the challenge of creating a new Italian-inspired fashion line for Athens, a city buzzing with cultural and civil renewal alongside the glamorous worlds of Seferis, Theodorakis, Papandreou, Callas, and Onassis.
His stay in Athens proved to be a defining chapter in his evolution as an artist. Here, amidst the echoes of ancient Greek philosophy and art, he reinterpreted Greek fashion and designed exclusive collections. Yet, it was the culture, the philosophy, and the timeless human spirit of Greece that sparked a deeper creative awakening in him. The influence of Greek vase paintings, the depiction of the human form, and the colors of the Mediterranean all found their way into his work, marking a shift from fashion to the fine arts.
"In Greece, everything feels like a beautiful dream... it’s here that I relive the era of great Greek art. The majestic monuments, the historical and religious atmosphere—all of it inspires new ideas. It’s like an art ferment; new horizons open my mind to fresh thoughts."
In Athens, Savini became involved with the Arte and Engagement group, which brought together painters, sculptors, poets, and philosophers—an intellectual force in the social and cultural revitalization of Greece. In December 1965, the Greek Minister of Education awarded him the first prize in a national painting competition for his work Love and Pain, dedicated to the fallen soldiers of war. The piece, accompanied by a poem he wrote, was read aloud by the Greek Metropolitan in the spirit of reconciliation. Savini immersed himself more in the study of Greek art forms, collaborating with the maestro Konstantopulos and attending the Academy of Fine Arts.
This period brought forth his mature works—refined pieces rooted in a highly original technique that speaks to universal themes of human existence. His color palette evoked the tones of ancient Greek pottery, and his depictions of the human figure were light, almost like a trace of color on rough material.
The 1970s: Drawing and Sculpture
Following the military coup in Greece, Savini returned to Italy, settling in Milan and Rome. In Rome, he set up a studio in Piazza Barberini, which became a hub for his frequent travels. "Traveling to discover other places and other art," he once said, "with a light suitcase in one hand and a portfolio of sketches in the other. It’s a vital need to create distance between one inspiration and the next."
When he returned to Italy, he fully embraced painting as his primary medium. His art became a way for him to explore the human condition, to capture the complexity of life in all its forms. His unique technique, one that blended elegance with simplicity, immediately set him apart.
Throughout the late 1960s and 1970s, his explorations continued, yet his artistic focus remained rooted in figurative art. In addition to painting, he began producing drawings that expressed a new mode of artistic language, one of simplicity and elegance. These drawings captured the essence of human life, depicting themes like adolescence, love, motherhood, aging, melancholy, memory, and ecstasy through powerful yet delicate and essential lines.
The 1970s also marked a new phase in sculpture. With bronze, he found a way to express profound themes—warriors locked in an embrace, inner torment made tangible, and love’s sweet anticipation. His sculptures took on a life of their own, as with Solidarity, Wrestlers, Pain, and Paolo and Francesca, offering powerful, physical representations of human emotion in three dimensions.
Cultural and Artistic Life (1980s)
Between the 1970s and 1980s, Savini remained active in both his artistic practice and civic life. Despite his success, he had not lost sight of the core belief that drove him—art was not just for the elite, it was for everyone. His commitment to social engagement was a cornerstone of his artistic philosophy. He participated in the jury of the Premio Poesia e Pace, organized by the magazine Arte e Cultura. His art often reflected themes of peace and the scars of war, most notably with The Flower, a 5-meter monument created in his native Ortezzano in memory of those who died in wars. The piece, which featured two petals embracing the Earth, was a poignant reminder of the need for peace and justice.
The Final Years: Rediscovering the Masters
From the mid-1980s to the early 1990s, Savini delved into a final phase of artistic research, revisiting the works of old masters from the 15th century onward. This renewed focus on form and cultural heritage took him to libraries and private collections, where he studied the "classics" of art to which he felt a deep personal debt. This culminated in a series of drawings—some inspired by the old masters, others free reinterpretations—that explored the nuances of the human form. These works, rendered in sanguine, pencil, and ink made from natural pigments, breathed life into delicate, powerful, and ethereal figures that seemed to emerge from the surface of time.
In June 1995, Savini began a final cycle of sacred drawings for the sanctuary of Our Lady of Lampedusa in San Remo, but his work remained unfinished. With his passing, he left behind a lasting legacy, his life and work a testament to the bold spirit of artistic exploration in the second half of the 20th century.