Pietro Sarto (*1930) has never considered the practice of engraving other than in its relationship with books. From 1971 onwards, he worked as an editor in the Saint-Prex workshop, which he had set up. In the course of his reading, he has discovered surprising visions of the world that are similar to those he has always developed in his art. Dante, Victor Hugo, Charles Ferdinand Ramuz open up stunning perspectives in their writings that the painter in turn welcomes in his works. Sarto transposes these dizzy spells, confrontations between light and shadow from the painted canvas to the sheet of paper, convinced that the dialogue between the two techniques offers solutions that can only enrich the viewer’s experience.