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At the foundation of Sassu’s activity as an engraver lies specific training: in 1925 his father sent him to be apprentice in a lithographer’s shop, where the young man mastered not only lithography, but also the other graphic techniques of drypoint, aquatint, etching, serigraphy, woodcut, and linocut.
His graphic production runs largely parallel with that of painting; in the engravings, in effect, we find the same themes - from reality to myth, from sacred subjects to the secular, brash Maison Tellier - encountered in the paintings, characterized by a treatment adapted case by case to the specific nature of the technique being utilized.

From the standpoint of language, we can sometimes note an expressive immediacy - evidently suggested by the dryness of the medium - at times extremely raw and violently expressive, that is missing in painting, where things are usually more measured and controlled. Examples are certain figures of boxers, but also, later on, some etchings of 1962, like La ruffiana and Celestina, At the Café, and others of 1979 like De Bulllion Street, from the portfolio There were no signs.