This picture book was published posthumously, almost 60 years after its conception. It has some of the characteristics found in the other two picture books, including the mixture of different artistic techniques, especially the inclusion of photography.
It begins with potting soil in which seeds of nasturtium begin to germinate, grow, and bloom - a photographic image touched up with gouache. At first, only a green cotyledon can be seen in the black-and-white photograph, but from page to page, the plant grows larger in the photograph, each highlighted with a colored element until a bright yellow painted flower dominates the page. Black-and-white photographs of individual flowers follow, juxtaposed with outline drawings, plus brushstrokes of possible flower colors and simple explanations. Flowers, it becomes clear, are simple as well as complex entities, and their beauty is communicated in a variety of different ways: in shapes, colors, and diversity, which it is important to learn to see.
Luigi Veronesi, born in Milan in 1908, died there in 1998, was a painter, graphic artist, photographer and filmmaker and is considered a prominent representative of Italian Constructivist art. As a schoolboy he took private drawing lessons. Later he transferred to the prestigious Milan Polytechnicum, where he studied textile drawing and painting. Beginning in 1932, he turned to abstract art and in 1935 participated in a first exhibition of Italian abstract artists in Turin. During these years he created various abstract films and painted photograms. In 1948 he joined the group MAC (Movimento Arte Concreta), to which Bruno Munari also belonged.
In his painting he devoted himself particularly to geometric forms, combining them in the 1950s more frequently with organic form design and soft color modulations. For many years Veronesi taught composition and color theory in Venice and Brera/Milano.
Klaus Holbert (ed.). Luigi Veronesi. Rationalistische Abstraktion / Rationalistic abstractions. 1927–1996. Institut Mathildenhöhe Darmstadt, Mazzotta, 1997