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At RedKalion, you can find virtually any artwork from any artist, available in a wide range of sizes to perfectly match your space.
If you didn’t find what you’re looking for, contact us at support@redkalion.com . We will source any artwork and produce it in any size and format you need, including art prints, posters, canvas, framed pieces, framed canvas, and more.
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What is included in this Piero Manzoni postcard set?
This set includes 10 identical A6 postcards (10.5 x 14.8 cm) featuring Piero Manzoni’s Achrome (1959). Each card is a museum-quality fine art print suitable for framing, collection, or high-end correspondence.
How does 12-color printing differ from standard postcard printing?
Our 12-color technology uses a wider spectrum of pigments than standard 4-color inkjets. This allows for smoother gradients and more accurate reproduction of the subtle textures found in Manzoni’s monochromatic masterpieces.
What is the weight and finish of the paper?
We use premium 200 gsm (80 lb) FSC-certified paper with a thickness of 0.26 mm. The smooth matte finish ensures a clean, glare-free appearance that highlights the artwork's intricate details.
Are these postcards environmentally friendly?
Yes. RedKalion uses FSC-certified paper from responsibly managed forests. Additionally, our print-on-demand model reduces waste by only producing what is ordered, supporting a more sustainable art market.
Will the print fade over time?
These postcards are printed using archival-grade inks on heavy-weight paper. This ensures long-term color vibrancy and resistance to fading, maintaining the integrity of the Achrome reproduction for years.
What does the term 'Achrome' signify in Manzoni's work?
'Achrome' literally means 'without color.' Manzoni used this term to describe works that focused purely on the physical properties of the materials, such as kaolin or fabric, rather than traditional artistic expression.
Why is the 1959 Achrome series historically significant?
The 1959 series was pivotal in the transition toward Conceptual Art. It challenged the idea that art must be 'about' something, instead presenting the canvas as a self-referential, total space of possibility.
