CHAPTER 2: Piero Manzoni, Achromes: An Initial Investigation into the Chemical and Technical Characterization of the Artist's Materials¹

In relatively recent years, rare diagnostic campaigns have been conducted on a number of works by Manzoni, generally with the aim of identifying the presence and the number of areas of overpainting. However, a truly systematic technical-scientific research programme has yet to be established. Indeed, the study of the materials and techniques with which Piero Manzoni produced his works is still in its infancy. This essay presents the first exploration of a number of issues associated with the characterization in detail of the materials and techniques used in the creation of the first series of Achromes, with a preliminary examination of Achrome (number 433), a work executed by Piero Manzoni (Soncino 1933–Milan 1963) between 1957 and 1958. Achrome (number 433) represents the artistic turning point in Manzoni's career: the first expression of a wholly independent and fully defined aesthetics. The analysis of this work is intended to be the starting point for an examination of this group of works that is as extensive as possible, following a non-invasive multi-technique analytical approach.