Mediterranean light is an indispensable part of the work of this artist whose plastic conceptions have an obvious debt to Luminism, following his sojourn at the San Carlos Academy of Fine Arts in Valencia. There he received his formation as a painter, and it was there that he was subjected to a discipline based on the hegemony of Valencian Impressionism.

But Abstraction broke forcefully into Salvador Victoria’s production starting in the 1950s. A memorable stay in Paris led him to embrace the postulates that he would end up sharing with Eusebio Sempere, Lucio Muñoz, Manolo Millares and Luis Feito. Once again, the French capital marks the before and after in the plastic conception of artists who would later be recognized as masters of contemporary Art.

His return to Spain did not take place until well into the 60s, when he set up his studio in Madrid and undertook a stage characterized by the rigid ordering of elements in space. Victoria continued to be interested in experimenting with new techniques and media, focusing particularly on tempera painting and collages.

In 1972 he participated in the Venice Biennale, and he also represented Spain in the Alexandria Biennale. Later, in the 1980s, he joined the Ruedo Ibérico (Iberian Bullring) Group, with whom he exhibited all over the world. However, his individual exhibitions already numbered more than 100, including museums and galleries in Paris, London, Rome and practically all of the world’s major cities.

Salvador Victoria’s best work can be found in collections such as the Queen Sofía Museum, the Museum of Abstract Art in Cuenca or the Juan March Foundation. His abstracts have become cult objects, and their value continues to rise in the contemporary Art market.