Trompe-l'oeil, a French term meaning to trick, the eye, describes a painting that deceives the spectator into thinking that the objects in it are real, not merely represented. To successfully fool the eye of the viewer, trompe-l'oeil artists choose objects, situations and compositional devices using as little depth as possible. A heightened form of illusionism, the art of trompe-l'oeil flourished from the Renaissance onward. The discovery of perspective in fifteenth-century Italy and advancements in the science of optics in the seventeenth-century Netherlands enabled artists to render objects and spaces with eye-fooling exactitude. Both witty and serious, trompe-l'oeil is a game artists play with spectators to raise questions about the nature of art and perception.

Post-Impressionism is a movement in France that represented both an extension of Impressionism and a rejection of that style's inherent limitations. The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cezanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. Most of these painters began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.

Immediately upon his death in 1963 at the age of thirty, Piero Manzoni s reputation as a provocateur and wild child preceded him, with his most subversive work, Artist s Shit, 1961, elevating him to cult status. But what actually came before, and lay behind those thirty grams of pure artistic output? Flaminio Gualdoni sets out to explore exactly that in this biography that traces the guiding themes of Manzoni s works, lending order to a jumble of hitherto fragmented materials and setting aside any apocryphal hypotheses.

This general catalogue, which represents years of work on the systematic cataloguing of Pomodoro's entire sculptural output, covers the full range of works produced by the artist between 1953 and 2003, supplemented with the first complete documentary research into the entire existing bibliography.