Following his first academic attempts, still tied to classical subjects but already moving towards an expressionistic language, Cattaneo demonstrated great technical and compositional freedom in engraving. He made his first linocuts, in which sometimes the scene unfolds in flat fields that close in on the entire engraved space of the sheet, while in other cases the completed gestures leave the negative imprint of the action that has already occurred – like trails – with the refined persistence of the sign against the background.  At the turn of the Sixties, Cattaneo moved away from suggestions still tied to the figurative culture and focused on a fantastical world filled with architectural suggestions. Cattaneo’s engravings show uncommon attention to colour, bright and dazzling in some cases, but opaque, porous and with daring nuances in others.