他研究工程在罗马，离开研究献身于绘画。他训练中的工作室贾科莫·巴拉，他在那里会见吉诺塞韦里尼和翁波丘尼。对于后者，他前往由法国和德国在1908年。他的第一部作品是对部分未来主义与城市生活的话题和工业时代（卡车 1914年组成的螺旋桨，1915）。在很短的阶段之后形而上绘画（白马，1919），他带领一个表现的员工，由传统的意大利绘画影响，一些古老的空气，降低几何形式。他继续表示城市，这给了历史的召唤一个奇怪的方面，而焦虑孤独的气息，在其中吸收个体工业城市的场景，被孤立的数字反映涉及工人的大工厂情景和工业区的火车，卡车和有轨电车（交叉市容，1921）。

通过在中期20世纪20年代，他加入了风格九百，它倡导回归到意大利传统的古典，一个这是赞助运动由政权法西斯的墨索里尼。他的新主题是对景观的肖像和裸体，有灵感的古代和字符在基本地中海的意大利艺术。他建议回归传统技术，如新鲜的马赛克和浅 - 浮雕，走近挂设计架构（展馆菲亚特在米兰博览会）和风景 剧院。

He studied engineering in Rome and left the research devoted to painting. He trained in studio Giacomo Bala, where he met Gino Severi Ni and Von Boccioni. For the latter, he traveled to France and Germany in 1908. His first work is on the part of Futurism and the topic of city life and the industrial age (1914 truck propeller, 1915). After a short period of Metaphysical Painting (white, 1919), he led a performance by the influence of traditional painting in Italy, some of the old air, reduce the geometric form. He continued to represent the city, which gave a strange aspect of the call of history, and the anxiety lonely atmosphere, in which the absorption of individual industrial city scenes, the isolated figures reflect the large factory scene involving workers and industrial areas of the train, truck and tram (cross city, 1921).
By the middle of 1920s, he joined the style nine hundred, which advocated the return to Italy's traditional classical, one which was sponsored by the regime fascist Mussolini. His new theme is the landscape of portraits and nudes, inspired by the ancient and character of the Italy art in the mediterranean. He proposes to return to traditional techniques such as fresh mosaics and bas reliefs, approaching the hanging design architecture (exhibition hall in Milan Fiat) and the landscape theatre.