The series of Tableaux Dorés is accomplished by Bianco since 1957 as a development of Collages. They represent one the most well known cycles of the artist, and also the ones lasting more time.
So Bianco observed: “In 1957, in Milan, I was applying some small golden sheets on a collage surface, after having painted it as a monochrome. The result was a two colour artwork, like a herald. This experience was probably the most continuative of my researches. I have been continuing this research for years, some time simultaneously with other new Collages and with many other researches”.
The two-colour backgrounds, oil o enamel painted, on which the golden leaves are subsequently applied, frequently present a white part alongside a red, blue or green surface, but also other coloured surfaces. There are also some Tableaux Dorés with a monochromatic background or made with straw or fabric. These works stand out because of the light that radiates from the golden “tessera” (square) the surfaces of which, irregular and frequently appearing as veiled by shadows, create a counterpoint to the preciousness and fragility of the material. Expression of a “contemplative maturity”, the Tableaux Dorés could be interpreted as “a sort of curtain that the artist brings down so that the viewer’s eyes can investigate the surface and beyond it but, at the same time, shunning from theatricalism, with the proposition of an absolute silence” (P. Biscottini 2005).
Some of Tableaux Dorés, entitled Impronte (Imprints), have a relationship with the Imprint – Art: in these works the golden elements could be considered as imprints/shapes