Bruno Cassinari was born in Piacenza in October, 29  1912.

He enrolled in the School of Arts Gazzola in Piacenza.

He moved to Milan, where he worked as goldsmith and at the same time attended the evening courses at the Umanitaria, the School of Arts of Brera and the Castle. In this period he began to paint and to engrave.

He exhibited a portrait and some landscapes at the art exhibition organized by the local artists in Piacenza: that is the first time that his paintings appeared in public and the art critic Giuseppe Donazzi defined them “spiritual, simple and Giottesque”. La sua pittura, apparsa per la prima volta in uno spazio pubblico, viene definita spirituale semplice e grottesca dal critico Giuseppe Donazzi.

Cassinari was admitted to the Fine Arts Academy of Brera, where he graduated in 1938 under Aldo Carpi’s guidance. In this period he started to attend the artistic milieu in Milan.

The new periodical Corrente di Vita Giovanile appeared for the first time and at the same time Cassinari, Treccani, Morlotti, Guttuso, Birolli and other young anti-twentieth-century artists united according to their shared need and pursuit of free expression. Cassinari took part into many artistic events, such as the Permanent Exhibition of Milan, the so-called Prelittoriali d’Arte and the IX Mostra d’arte del Sindacato Interprovinciale fascista.

At the exhibition I Littoriali anno XVII in Trieste he won the first prize with his work Autarchia(Autarchy) and he took part successfully in the first exhibition organized by the periodical Corrente at the Permanent Exhibition of Milan, where he exhibited four paintings, one of those Natura morta in giallo. (Yellow Still Life); a very large group of roman artists participated to the exhibition held at the Galleria Grande in Milan giving proof of the pluralistic feature of this important event. In the same year Cassinari moved to the studio in 7,Via San Tommaso,he took part in the X Mostra del Sindacato Interprovinciale fascista di Belle Arti in Milan and in the Guf Exhibition held in Milan at the Salone degli Osii.

Duilio Morosini dedicated a perceptive critical analysis to Cassinari with reference to his “form of both resolute and instinctive, naïve liberation in the colour”. On the 10th June the periodical Corrente was suppressed, while on the 12th December the so-called Bottega degli Artisti di Corrente gallery originated in Via della Spiga in Milan under Morosini’s guidance.

Cassinari prepared his first personal exhibition at the Bottega degli Artisti di Corrente gallery and exhibited fifteen oil paintings, which Elio Vittorini described in the catalogue with the following words: “…mystical devotion. And he gets it from his blood, together with his need to rummage and dig in the world in order to tear cries of colour from it. None of the modern young painters has ever been so determined about the need to get such deepness from the colour, from nothing but the colour…The last Cassinari’s landscapes already belong to the contemporary Italian history of art …A sort of grace has perforated his hands…”. In autumn he took part in the Premio Bergamo event and won £ 2500 for the portrait of Rosa Birolli, even known as Ritratto di Rosetta (Rosetta’s portrait); this painting marked a turning point towards less bright tones and a more precise drawing, as Guttuso underlined in his work Mestiere di Pittore in 1972.

At the national art exhibition IV Premio BergamoCassinari presented these following paintings: Il Ruscello verde, Panno viola(Green Stream), Panno viola (Purple Cloth) and Composizione (Composition). The last one, even known as La Pietà ), gave rise to an “antichristian” scandal and Celso Costantini, the archbishop of Teodosia, defined it as an act of “disgusting irreverence”. The summer stay in Gropparello marked the beginning of the friendly relationship between Cassinari and Morlotti.

After some hard financial difficulties solved thanks to the collector Alberto Della Ragione’s help, the Bottega degli Artisti di Corrente gallery changed its name into Galleria della Spiga e di Corrente; there Cassinari exhibited eleven of his works and some of those still life paintings, landscapes and portraits belong to the Della Ragione collection. Morlotti and Treccani participated to the exhibition too, which was presented by Raffaele De Grada.

Cassinari, Guttuso and Morlotti took part in the exhibition Oltre Guernica. Omaggio a Ciro Agostoniout of competition, which was held in Agostoni’s honour at the Bottiglieria di Brera, a sort of wine cellar in Brera; there Cassinari exhibited his work Natura morta con brocca. (Still Life with Jug). Felice Casorati organized an exhibition entitled Cassinari, Morlotti, Valenti, Manfredi: Milanese painters and in this occasion Cassinari was defined as “the most mature and original among all of them” in the Italian newspaper L’Opinione (30th June 1946). He also took part in the exhibition held at the Galleria della Croce in Rome together with Morlotti and sent three of his works to the Wistawa Wspolczesncj szutuki wloskiep, an exhibition organized by Del Guercio, Guttuso, Trombadori and Valcini at the National Museum of Warsaw. On the 1st October the so-called Nuova Secessione Artistica Italiana (New Italian Artistic Secession) originated in Venice, that was an artistic movement later known as Fronte Nuovo delle Arti; Cassinari joined it and signed the manifesto like Birolli, Guttuso, Leonardi, Morlotti, Pizzinato, Santomaso, Vedova and Viani, but not long after he broke away from them. At the personal exhibition at the Galleria del Camino in Milan he exhibited his first three-quarter nudes meeting with the critics’ approval and he was very successful with profitable sales: £ 100.000 for his Grande ritratto di vecchia signora. (Great Portrait of Old Lady). In this case Dorfles described Cassinari as “probably the most gifted and for sure the most sensitive among all the Milanese young painters”.

Cassinari exhibited two works at the Quarante ans d’art italien du futurisme à nos jours an exhibition that was presented at the Musée Cantonal des Beaux Arts in Lausanne. Together with his companions of Corrente, he took part in the exhibition held in Turin entitled Arte italiana d’oggi-Premio Torino at Palazzo Madama. In the same year a personal exhibition took place in Turin at the Saletta del Grifo; he also exhibited some works at a collective drawing exhibition in Genoa at the L’Isola Gallery. He wrote a sort of drawing eulogy entitled “Elogio al disegno” on the De Micheli catalogue.He went on his first journey to Paris with Morlotti, Birolli and Morosini and saw Picasso’s works.

A personal exhibition was mounted in Turin at the Bussola. He took part in the V Quadriannale Nazionale d’Arte, a national exhibition presented at the Modern Art National Gallery in Rome, where he exhibited two paintings. At the Biennial Exhibition of Modern Art in Venice the association Fronte Nuovo presented eleven artists and Cassinari exhibited nine of his paintings, among them Panno viola (Purple Cloth) and Ritratto di Bianca Garufi (The Portrait of Bianca Garufi), who was a roman poetess and psychologist. One of his works, Nudo nella cattedrale (Nude in the Cathedral) won the first prize at the second national art exhibition held in Alexandria (Premio città d’Alessandria), while he won the second prize at the exhibition in St. Vincent, Premio per la Pittura e Scultura. In the same year he visited Rouault’s anthological exhibition in Zurich. He worked for the Einaudi publishing house and illustrated a poem written by Éluard (Poésie ininterrompue).

Cassinari took part in the exhibition entitled Exposition de peinture moderne italienne depuis 1850 à nos jours, which was organized by the Venice Biennial in Cairo. At the Il Milione Gallery in Milan he exhibited twenty paintings, that he created in 1948 and 1949: he was very successful with sales and with critics too and in an article on the magazine “Emporium” (March, 1949), the critic Podestà defined him as “one of the most serious among all the disorientated painters belonging to the last generation”. At the third national art exhibition held in Alexandria (Premio città d’Alessandria) he exhibited his Il cappello verde (The Green Hut) out of competition. At the Twentieth-Century Italian Art Exhibition held at the MOMA in New York Cassinari bought The Mother, a painting that was presented at the Biennial in Venice during the previous year. During the exhibition entitled Pittura Contemporanea Italiana, for the Italian contemporary painting, which was mounted in Venice in October, the Italian Ministry of Education bought Cassinari’s Natura morta con fruttiera (Still Life with Fruit Dish) to expose at the Modern Art National Gallery of Rome. According to his latest awesomeness about Picasso’s works he made his first journey to Antibes, a place he had been continuously visiting till 1953. Cassinari opened his own studio at les remparts close to the Grimaldi Museum, which is now Picasso Museum, and he attended not only Picasso, but even other artists and exponents of the culture of those years, such as Matisse, Chagall, Braque, Cocteau and the poet Éluard, whose poems book Cassinari illustrated later.

This is the year of Antibes, of the dialogue with Picasso and of the neocubist language referred to the inlay effects. Picasso invited him to organize a very successful personal exhibition of twenty-four hours at the Museum of Antibes, which was presented by Dor de la Souchère. Among all his there were Arrivée de la pêche , Nature morte, the playbill reproduced the engraving entitled Le Picador, whose copy is to find at the Modern Art National Gallery in Rome. At the same time he took part in the XXV Biennial Exhibition of Venice with five of his works, including Nudo disteso (Lying Nude), a painting bought by the town administration for the Modern Art Gallery. During the summer Cassinari exhibitedPescatori al porto di Antibes (Fishermen at the Port of Antibes) at the Il lavoro nella pittura italiana, an exhibition about the representation of jobs in Italian paintings, which was mounted in Venice.

Ramous presented a personal exhibition at the Saletta gallery in Modena. Cassinari took part into the travelling exhibition entitled Italian Artists of To-day, which was presented by Argan at the museums of Göteborg, Helsinki, Oslo and Copenhagen. In the same year he also won the Taranto painting prize. During the first show of Pittori d’Oggi Francia-Italia, an exhibition for modern Italian and French painters, which was mounted in Turin, he also exhibited La capra (TheGoat), which was bought by the Modern Art Gallery of Turin. Cassinari created a large wall panel for the honour room of the IX Milan Triennial; he exhibited some drawings at the Saletta in Bologna too.

Cassinari took part in the XXVI Venice Biennial and together with Bruno Saetti won a very prestigious national price dead heat, the so-called Gran premio della pittura italaina. There was a room disposed for his personal exhibition, where he presented twenty paintings, and some of them were already part of very important private collections. L. Vitali wrote the following words: “he is reaching his own creation of style… an expression of a painting which has already overcome the step of experience in order to reach the maturity…”. The Italian Ministry of Education bought II limone (The Lemon) for the National Gallery of Rome, while the Modern Art Museum of St. Paul (Brazil) bought Natura morta rosa (Pink Still Life). In the same year Caroline Viviano, manager of the art Gallery of New York, wanted Cassinari to join her equip, but he preferred to go on consolidating his national and European activity.

The exhibition Picasso’s Ceramics and Cassinari’s drawings was mounted at the Angelo Bianchi Gallery in Gallarate; Cassinari exhibited some of his gouache paintings at the personal exhibition mounted at the Annunciata in Milan, which was presented by Toti Scialoja. He also took part in many important collective exhibitions abroad: e.g. an Italian art exhibition in Stockholm presented by U. Apollonio, where he exhibited five paintings, among themMaternità (Motherhood), an exhibition held in New York at the Curt Valentin Gallery, then the exhibition Junge Italienische Kunst held in Zurich and finally the exhibition Futuristas e Artistas italiano de hoje presented at the II Biennial in St. Paul, Brazil. He won the first prize at the exhibition IV Premio di Pittura Città di Gallarate for his painting Donna in viola(Woman in Purple) and he also won another prize at the exhibition V Premio nazionale Golfo di La Spezia for his painting Porto (Port).

At the personal exhibition presented by Franco Russoli at the Il Milione Gallery in Milan Cassinari exhibited twenty-four works of the last years, which showed the synthesis of a great decorative vitality. In the same year a personal exhibition composed by twenty-five paintings was mounted at the Nordisk Kunsthandel of Copenhagen. At the XXVII Biennial of Venice five of his works were disposed together with those of Birolli and Vedova in the room XX. Cassinari, Monachesi, Montanarini and Prampolini carried off an equal prize in Francavilla al mare at the exhibition entitled VIII Premio Nazionale di Pittura F. P. Michetti, where he exhibited his Finestra sul mare (Window onto the sea); he also won the second prize with Zigaina dead heat at the Il Naviglio Gallery of Milan (Premio Graziano exhibition).

Cassinari drew the scene paintings and the costumes for the ballet España of Chabrier, which was performed at the Scala of Milan on the 9th February. He exhibited nine paintings at the VII National Quadrennial Exhibition of Rome, which were presented by Umbro Apollonio.He took part in the World Exposition “Documenta” of Kassel and in the Italian Contemporary Art Exhibition organized by the Art Council of Great Britain.On “Commentari” Lionello Venturi wrote an essay about the first twenty-year period of Cassinari, considering two extreme portraits of his mother: the former dated 1936, and the latter, which is both abstract and concrete, dated 1955; Venturi wrote: “Cassinari has painted his mother many times, he admires her strength of character and energy. The presence of the mother constitutes for him a constant element…” He rented a studio in Paris in Rue Campagne Ière.

Cassinari took part in the travelling exhibition organized by Prampolini and entitled Italian Art of the XX Century, which was mounted in the principal Australian towns between March and December. During the XXVIII Biennial Exhibition of Venice he presented Atelier con modella (Atelier with model). Two of his paintings were exhibited at the Modern Italian Art Exhibition (Eric Estorick Collection), which took place in London, Plymouth and Birmingham. In the same year he married Enrica Colombo.

Cassinari took part in the exhibition held at the Fine Arts Museum of Caracas, entitled Diez años de pintura italiana. He exhibited eleven oil paintings at the VIII Mostra Nazionale Premio del Fiorino, a national exhibition held in Florence, and he got a “golden diploma”. During the Mostra d’arte di solidarietà nazionale, an exhibition for the Hungarian artists organized by Lionello Venturi at the Modern Art Gallery of Rome, the Italian Ministry of Education bought Cassinari’s work Mele (Apples); in May the Gallery also housed an exhibition of the modern painters belonging to the Cavellini Collection and in that occasion Cassinari exposed six paintings, one of them Il Porto di Antibes (The Port of Antibes). In autumn Cassinari’s personal exhibition, which was composed by fifty-five works, moved from the Matthiesen Gallery of London to the Kunst KabinetKlihm of Munich; the exhibition Italian Art since 1910 till today took place in Munich too and it was presented by E. Bellonzi: in that occasion Cassinari exhibited Festa nel porto (Party at the Port). Some of his works were exhibited at the Painting in post-War Italy 1945-1957, which was presented by Lionello Venturi and mounted at the Columbia University of New York. The essay Forme Nuove in Italia (New Forms in Italy) was edited and published by the Triennial of Milan and contains Cassinari’s drawings for mosaic and cloth.

During the Premio Marzotto 1958, an international exhibition for contemporary painting held in Valdagno, Munich and Paris, Cassinari exhibited three of his works; that exhibition was mounted by Jean Cassou, Kurt Martin and Marco Valsecchi. During a personal exhibition, which was mounted at the Bussola Gallery in Rome, Nello Ponente presented eighteen oil paintings that Cassinari created in the previous two years. Cassinari exhibited his works with Ajmone, Morlotti and Music at the Blu Gallery in Milan, with Morlotti at the Odyssia Gallery of Rome. 1959: Besides participating to the personal exhibitions at the Alberti Gallery in Brescia, at the Plastica Galeria de Arte of Buenos Aires and at the Sianesi Gallery of Milan, he also took part with five paintings in the permanent exhibition of Milan entitled 50 anni d’arte a Milano dal Divisionismo ai giorni nostri, which concerned the Milanese art during the last fifty years, and in the Documenta II held by Kassel. Cassinari was introduced by Franco Russoli at the VI Mostra Francia-Italia, an exhibition about French and Italian artists held in Turin and in that occasion he sold Estate (Summer) to the Modern Art Civic Gallery of the town. He exhibited five paintings, which were presented by Raffaele Carrieri, at the VII National Quadrennial Art of Rome at the Palazzo delle Esposizioni. Cassinari took part in many collective exhibitions, such as the Peintres et Sculptures du Futurisme à nos jours at the Musée d’Art et d’Industrie of Saint-Etienne, the 20th Century Italian Painting and Sculpture from the Estorick Collection at the South London Art Gallery, the Jahreausstellung mit italienischen Malern held in Darmstadt. In the same year he exhibited some of his works at the Pater Gallery of Milan with other artists, such as Ajmone, Birolli, Dova, Gentilini, Fontana, Morlotti and Scanavino.

Cassinari exhibited thirteen paintings at the XXX Biennial of Venice; among them there was Atelier, which was bought for £ 900.000 by the town administration of Milan for the Modern Art Gallery. At the Kunsthalle of Darmstadt Russoli and Hans G. Sperlich mounted Cassinari’s first great anthological exhibition, which was composed by eighty-one works. At the same time at the Annunciata Gallery of Milan a personal exhibition was mounted with fifty paintings belonging to the period between 1945 and 1960. Other personal exhibitions were organized at the Zanini Gallery of Rome, at the La Loggia Gallery of Bologna and at the Bonino Gallery of Buenos Aires too. In Germany Cassinari took part in the travelling exhibition entitled Italienische Kunst der Gegenwart; moreover he exhibited two paintings at the exhibition held at the Palazzo Reale of Milan, which was entitledArte Italiana del XX secolo nelle Collezioni Americaneand presented the Italian art in American collections. He also exhibited seven paintings at the national exhibition held in Ferrara about the Italian art between 1930 and 1945 (Rinnovamento dell’arte in Italia 1930-1945). Cassinari took part in the exhibition Moderne Italiaanse Kunst held in Amsterdam and in Eindhoven; while in London, at Harrod’s, he participated to the exhibition Pitture Italiane di oggi, about modern Italian painting, and in Paris, at the Galerie Charpentier, to the exhibition entitled Peintres d’aujourd’hui France-Italie.For the publishing house Cappelli of Bologna Cassinari illustrated the cover of Anna Frank’s Der weise Zauberer und andere Erzählungen. In the same year Cassinari’s mother died.

The anthological exhibition in Darmstadt of 1960 moved to Berlin. Personal exhibitions took place in the Permanent Gallery of Bergamo and in the Ghelfi Gallery of Verona. Cassinari took part in the VII France-Italy exhibition, held in Turin, in the National Quadrennial Exhibition of Art in Rome and then to the travelling exhibition entitled Cultura Italiana d’oggi, about the modern Italian culture, which took place in Copenhagen, Oslo, Göteborg, Stockholm and Helsinki.

A very important work was commissioned to Cassinari in order to be placed in Santa Barbara church in Metanopoli: it is the so-called La Madonna della Speranza, which was completed in 1966. Some personal exhibitions were mounted in the Gissi Gallery in Turin, in the Zanini Gallery in Rome, in the Macchi Gallery in Pisa and even in the Rubio Gallery in Buenos Aires. He also exhibited three of his works at the exhibition entitled Mostra dei grandi Premi, which was held in Ca’ Pesaro during the XXXI Biennial of Venice; moreover he took part with five paintings in an exhibition about Italian painting in the post-war period (Il dopoguerra-la pittura italiana dal ’45 al ‘55), which was mounted at the Castello Estense in Ferrara. Together with Birolli, Dobezanski and Morlotti, Cassinari exhibited some of his works at the North-South Gallery of Lugano, with Campigli and Soldati at the Bergamini Gallery of Milan, and with Birolli, Guttuso and Morlotti at the Annunciata Gallery of Milan too.For the publishing house Cappelli of Bologna he illustrated Horatio’s Odes and for the publishing house Scheiwiller De Marchi’s El noster Dom. In the same year he opened his studio of Gropparello again.The works of this period show a new personal and poetic realism: sunflowers, cocks, flowers,pomegranates and storms will be the favourite subjects for his next creations.

Cassinari mounted a personal exhibition at the Eendt Gallery of Amsterdam together with the famous sculptor Minguzzi; in that occasion he had the opportunity to be presented at the first international exposition entitled Galeries Pilotes at the Canton Museum of Lausanne. During the first Biennial of Contemporary Art held at the Castello Svevo in Bari, Cassinari exhibited seventeen works dated 1961-1963, which were presented by Russoli. Cassinari’s personal exhibitions took place in the Michaud Gallery of Florence, in the Moretto Gallery of Brescia and in the Ghelfi Gallery of Verona. Together with Morlotti he exhibited his works in Cesenatico, then with Campigli, Carrà and Morandi at the Bergamini Gallery in Milan. With two artistic groups called La pittura di opposizione tra il 1925 e il 1945 and Post-cubism abstract-concrete, Cassinari took part in the XIV National Exhibition Premio del fiorino held in Florence at the Palazzo Strozzi. Cassinari exhibited ten works at the exhibition Gli artisti di Corrente which was organized by Valsecchi at the Cultural Centre Olivetti in Ivrea; he also took part in other Corrente exhibitions held in the Palazzo della Gran Guardia of Verona, in the Art Civic Gallery of Milan and in the Sala Comunale della Cultura of Modena.

At the Palazzo Reale of Milan Cassinari exhibited twenty-one oil paintings and three sculptures which were presented by the critic De Grada during the exhibition Pittura a Milano dal 1945 al 1964, about the Milanese painting of the last twenty-years period; the same critic also presented Cassinari’s personal exhibition in Macerata (Terzo Premio Scipione Nazionale di Pittura) and in that occasion the painter won, dead heat as Music, a £ 100.000 prize thanks to one of his Natura morta, which was even bought by the local picture-gallery. During the modern exhibition Arte d’oggi nei musei at the XXXII Biennial of Venice,Cassinari’s La capra was exhibited by the Modern Art Gallery of Turin, while hisPesce e fruttiera (Fish and Fruit-dish), already belonging to the National Modern Art of Rome, was presented at the travelling exhibition entitled Italian Still Life, held in Naples, Zurich and Rotterdam. He took part into the collective exhibitions of Copenhagen (Moderne Udenlandsk Kunst) and of Lausanne (Memoir et Mémoire du Premier Salon International des Galeries Pilotes Lausanne). Together with Birolli, Morlotti and Guttuso, he exhibited at the Salone dell’Annunciata of Milan.

A personal exhibition was mounted at the Bergamini Gallery of Milan presenting fifty-three oil paintings, sculptures and watercolours; some of them were then moved to the Bussola of Turin. An exhibition based on horses as painting subject was organized for Cassinari at the Buffalmacco Gallery of Piacenza. He also took part in the European exhibition entitled Arte e Resistenza in Europa, which took place in the Civic Gallery of Bologna and of Turin; besides he exhibited two drawings for Elio Vittorini’s work Uomini e no. He participated in the exhibition Italian Contemporary Painting held at the National Museum of Fine Arts of Buenos Aires.

Valsecchi presented one of Cassinari’s personal exhibitions at the Bergamini Gallery of Milan: it was the first time he exhibited paintings whose subject was represented by flowers; other personal exhibitions took place in the Ghelfi Gallery of Verona, in the Cavour Gallery of Milan, in the Fanesi Gallery of Ancona, in the Gissi Gallery of Turin, in the Gallery 23 of Sassari and finally at the Carlevaro Gallery of Genoa.Cassinari was invited to the exhibition Italian Art since 1910 till nowadays held at the Modern Art Museum of Mexico City, where he exposed his painting La modella (The model). At the exhibition held the Palazzo della Gran Guardia of Verona he participated with Fabbri, Fabris, Francese, Milani and Morlotti. Cassinari participated to the International Exhibition of Art in Tokyo too. He illustrated Catullus’ poems for the publishing house Cappelli of Bologna; he created twelve lithographies for Ramous’s Dal libro di Catullo edited by the publishing house L’immagine of Bologna. Moreover for the German publishing house of Munich Hauser, he illustrated Tasso’s Amynthas with etchings.

He sent his paintings La lucerna verde (Green Oil Lamp) and Figura in ombra (Figure in the shade) to the XXV Biennial and to the Permanent exhibition of Milan; Cassinari’s personal exhibitions were mounted in the Hausmann Gallery of Cortina, in the Rotta Gallery of Genoa and in the Delfino Gallery of Rovereto. Cassinari was invited at the XVIII Contemporary Art Exhibition in Torre Pellice. He took part in the Bragozzo Gallery of Cesenatico with Morlotti and Treccani. He participated to the travelling exhibition entitled Italian Art since 1910 till nowadays in Guatemala, El Salvador, Honduras, Nicaragua and Costa Rica. He took part in the exhibition at the Bergamini Gallery of Milan which presented works by Campigli, Cassinari, Francese, Morlotti, Music and Sironi. Edited by Teodorani of Milan, a booklet with twelve original lithographies entitled Corrente 30 anni dopo, that was about the artistic group Corrente, was published with a presentation by Raffaele De Grada.

The Milanese editor and printer De Tullio published a booklet containing thirty-five etchings and aquatints, whose introduction was written by Marco Rosci; in the same year the printers Castiglioni-Colombo of Verona published Ezra Pound’s Francesca ragazza di bottega ed altre poesie, which was illustrated by Cassinari with two etchings. Other Cassinari’s personal exhibitions were presented at the castle of Lerici and at the L’Arcobaleno Gallery of Cosenza.The exhibitions Corrente thirty years after held at the Cultural Centre La Melagrana of Milan and Fifty paintings of a private collection 1930-1945 (Della Ragione collection) mounted at the Rizzoli library aimed to study the generation experiences of the so-called Corrente artists in depth. Together with Guttuso and Morlotti he exhibited his works at the Annunciata Gallery of Milan and at the Gissi Gallery of Turin.

Cassinari participated with eight paintings at the exhibition I pittori italiani del ‘900-prima serie: dal 1940 about Italian painters of XX century, which was mounted in Milan by De Grada and Valsecchi. The publishing house Electa published a monographic study about Cassinari, which was edited by Carlo Pirovano. In the same year Cassinari illustrated Petronius’ Satyricon for the publishing house Palazzi of Milan. A personal exhibition was organized in Forlì at the Odelaffi Gallery.

Pirovano’s monographic study on Cassinari was published in France by the editor G. Fall of Paris. In November Russoli presented a great anthological painting and sculpture exhibition at the Annunciata Gallery of Milan and other personal exhibitions were mounted at the Medea Gallery of Cortina, at the Ghelfi Gallery of Verona, at the La Lanterna Gallery of Trieste, at the Santacroce Gallery of Florence and finally at the L’Approdo Gallery of Turin. He exhibited his works with Matta and Morlotti at the Davanzati Gallery of Florence and together with Guttuso and Morlotti at the Medea Gallery of Milan. He also won, as the Japanese painter Tamura, the Città di Firenze prize at the II Biennial of Graphic Arts held in Florence. Cassinari took part in the exhibition on the Italian Art in the post-war period mounted in Avezzano.

Ritratto di Treccani (The portrait of Treccani), together with other two works, was exhibited in the event Milano 70/70 (Milan 70/70) at the Museum Poldi Pezzoli. Cassinari was invited to the travelling exhibition entitled Italian Painting 1940-60, which took place in all the museums of the most important Australian towns. Russoli presented a Cassinari’s personal exhibition at the Gallery 23 of Sassari. Moreover an important anthological exhibition was mounted at the Cortina Gallery of Milan, during which Cassinari was presented with a writing by Lionello Venturi; among his exhibited works there was even E il gallo cantò tre volte (And the cock crew three times).

Cassinari obtained a room for his personal exhibition at the X Quadrennial Art Exhibition held in Rome. At the Poldi Pezzoli of Milan at the exhibition Milan 70/70, in the third part of it, Cassinari presented five paintings. He also exhibited other works at the personal exhibitions held in Padua and Bari, and together with Migneco and Brindisi at the Merlo Gallery of Vigevano. The Pace Gallery of Milan exposed his paintings about Petronius’ Satyricon.

He took part in a very important personal exhibition at the Levi Gallery of Milan, during which he was presented by A. Sala’s written introduction. Russoli presented Cassinari’s personal oil painting and sculpture exhibition at the Perli Gallery in Reggio Emilia.He took part in the exhibition Pittura in Lombardia 1945-1973, about the Italian painting in Lombardy in the last thirty-year period, which was organized in Monza by G. Bruno, M. De Micheli, R. Tassi, and in the exhibition I maestri della generazione di mezzo, about the painters’ generation of that period, which was mounted at the San Sebastiano Loggia in Ovada. With Guttuso and Morlotti he exhibited his works at the Medea Gallery in Milan.For the graphic art edition Upiglio Cassinari illustrated O. Patani’s Le lucertole blu, and for Borletti editor he drew the cover of Igino Maj’s Martina.

A writing by A. Gatto introduced the catalogue for Cassinari’s personal exhibition held at La Borgognona Gallery of Rome, while in Rovereto at the Tonolli Gallery another personal exhibition was based above all on his sculptures.Other Cassinari’s works were also exhibited at the Palazzo Reale of Milan during an exhibition about the last fifty years of Italian painting in particular referred to the Boschi-Di Stefano collection (50 anni di pittura italiana nella collezione Boschi-Di Stefano donata al Comune di Milano). In the same year he illustrated for Moneta editor Lele Lamperti’s poems. He made some journeys to Morocco and India where he created very meaningful and particular drawings (see:Campagna indiana, Indian Countryside).

Russoli presented a personal exhibition on Cassinari at the Tavolozza of Palermo, while another personal exhibition was mounted at the Le Mura Gallery of Cremona too. With Guttuso and Morlotti Cassinari took part in the exhibition at the Dello Scudo Gallery of Verona; besides he also participated to the 1st International Biennial of Sculpture held in Campione d’Italia.

Cassinari exhibited some of his last works at the Perli Gallery of Reggio Emilia and was presented by Carrieri, while another personal exhibition took place in the Radice Gallery of Lissone; he also exhibited two sculptures at the exhibition Sculture nella città (Sculptures in the City) mounted in Lugano. In the same year, at the Palazzo Arcivescovile of Palermo, he also took part into the national exhibition I Rassegna Nazionale del Sacro nell’Arte Contemporanea, which was about the presence of holy subjects in the contemporary art.

At the Annunciata Gallery of Milan he exhibited eighty works he created between 1974 and 1977, and among them there was the disquieting painting La donna crocefissa(The Crucified Woman) too. Some other personal exhibitions took place in the Ducale Gallery of Vigevano and in the Radice Gallery of Lissone.He exhibited with Chighine, Meloni and Morlotti at the Montrasio of Monza and he also took part in the exhibition Pittura italiana 1950-1970, about Italian painting between 1950 and 1970, which was mounted at the Villa Malpensata of Milan and later at the Künstlerhaus of Vienna. He exhibited his works with Guttuso and Morlotti at the San Marco Gallery of Seregno and with Morlotti and Music at the Guerrieri Gallery of Lucca. In that year he also created eighteen stained glass windows for the Annunciata Church in Sant’Agata dei Goti.

Cassinari took part in the exhibition Corrente Cultura e Società 1938-1942, about the Corrente artistic group, which was mounted by Crispolti at the Palazzo Reale of Naples and where he exhibited also Ritratto di Rosetta, Ritratto di Morlotti(Portrait of Morlotti)and Natura morta grigia (Grey Still Life). He exhibited some of his recent works in the two personal exhibitions mounted at the Gioacchini Gallery of Ancona and at the Il Gotico Gallery of Piacenza, while his sculpture Cavallo (Horse) was placed in a square of Rovereto.

Personal exhibitions were mounted in the private galleries of Alessandria, Lucca and Pordenone. Cassinari exhibited his works with Morlotti at the Girasole Gallery of Udine and took part in many collective exhibitions, such as Idea per una collezione d’arte moderna at the Civic Museum of Lodi, 22 quadri selezionati per una collezione at the Zanini Gallery and Omaggio dell’arte italiana al dolore innocente, about the sorrow as subject in the Italian painting, held at the Palazzo Reale of Milan.

Other personal exhibitions were mounted at the Farsettu Gallery of Pietrasanta, at the Margutta Gallery of Pescara and at the Minotauro Gallery of La Spezia. Cassinari was presented by C. Munari at the personal exhibition mounted at the San Marco Gallery of Seregno; moreover two further personal exhibitions were mounted in Pescara and La Spezia. He also took part in two collective exhibitions at the Annunciata Centre of Milan.

The Italian Art Gallery of Busto Arsizio dedicated an anthological exhibition with oil paintings, drawings, sculptures and lithographic works to Cassinari,, while further exhibitions took place in Udine and Caserta. He took part in many collective exhibitions: at the Annunciata Centre of Milan in 40 anni di mostre in due manifestazioni-prima parte, at the La Scaletta Gallery of Reggio Emilia in La donna nell’arte italiana about women as subject in the Italian painting, at Palazzo Barberini of Rome in 31 pittori italiani sul mondo arabo about Arabian culture in the Italian painting, at the Gissi Gallery of Turin (Idea per una collezione) and finally at the Palazzo Pretorio of Poggibonsi (Poggibonsi Arte).

Cassinari worked at seven stained glass windows for San Domenico Church in Siena. He took part in the Milanese exhibition held in Palazzo Reale Anni Trenta-Arte e Cultura in Italia, about the Italian art and culture during the 30s, with five works, among which Ruscello verde (Green Stream), belonging to the Della Ragione Collection. Personal collections were mounted in Vigevano and Ferrara too. At the Annunciata Centre of Milan he exhibited his works during the two exhibitions Zavattini Collection and I maestri dell’arte; he also took part in many collective exhibitions: La donna nell’arte italiana (Women in the Italian Art) at the Ghiggini Gallery of Varese, Nature morte (Still Lives) and Figure e ritratti (Figures and Portraits ) at the Montrasio Arte of Monza, 25 anni dopo (25 years after) at the Le Ore Gallery of Milan and finally Il volto dell’uomo-meeting dell’amicizia tra i popoli, based on an intercultural background, held in Rimini.

Cassinari’s hometown dedicated a very important anthological exhibition to him, which was organized by Gian Alberto Dell’Acqua and Giovanni Anzani at the Palazzo Farnese: there were paintings, sculptures, drawings and engravings, in total about one hundred and fifty works. At the Annunciata Centre of Milan he participated to the exhibition entitled Arte preziosa in quattro mostre. Besides he worked at three engravings for Compagna di viaggio, edited by Maingraf.

Anzani published a monographic study edited by F.lli Fabbri, which was presented by Crispolti at the Milione Gallery of Milan during the personal exhibition Opere scelte 1931-1984 with selected works of the whole Cassinari’s creative production. A further anthological exhibition was mounted also at the Galleria Maggiore of Bologna and was presented by F. Solmi and M. Pasquali; later it moved to the Tavolozza of Riccione. Personal exhibitions were presented at the Il Gotico Gallery of Piacenza, at the San Carlo Gallery of Milan and at the Proposte d’arte Gallery of Legnano. He also took part in the national art exhibition XXIX Biennial Città di Milano, in the Permanent exhibition and in many other collective exhibitions, such as: De via Aemilia-percorsi critici per tre generazioni di artisti negli anni Ottanta, about the generation of painters in the 80s, held at Ca’ Vendramin Calergi of Venice; Uomini e luoghi del lavoro, artisti del Novecento, about the artists of the XX century, held at the Palazzo Medici Riccardi of Florence; and finally Il lavoro nell’arte, about jobs as painting subject, held at the Modern and Contemporary Art Gallery of Forlì. He drew the covering for Gelide introspezioni, a poems collection by Valter Legaxio.

Cassinari took part in the exhibition Corrente il movimento d’arte e cultura d’opposizione 1930-1945, organized by Corrente movement at the Palazzo Reale of Milan. Personal exhibitions were mounted in Legnano and in Milan at the Farsetti Gallery. For the editor Sciardelli he illustrated Ritorniamo ai giorni del rischio, a work by David Maria Turoldo, and for the editor Farnesiana of Piacenza he drew the covering of Sapere come Stefano Sartori. His sculpture La grande avventura (The Great Adventure) was placed in the little square “piazzetta Tempio” of Piacenza, his hometown.

The Milanese town administration organized a great anthological exhibition with two hundred and forty-five works, including paintings, sculptures and graphic creations, which was mounted by Dell’Acqua, Anzani, Crispolti, Bossaglia, Rosci and Gelli. The exhibition Il luogo del lavoro was mounted at the Triennial of Milan as a tribute to the Verzocchi Collection and there was even Cassinari’s Pescatori del Porto di Antibes (Fishermen of the Port of Antibes). Personal exhibitions were mounted at the Nike Gallery of Milan, at the Tavolozza of Palermo, at the Lanza Gallery of Verbania and finally at the Negri Gallery of Guastalla. Moreover he took part in the following collective exhibitions: Arte Sacra in San Simpliciano, about holy artistic subjects held in Milan, Il luogo del lavoro at the Triennial of Milan and Paesaggio senza territorio, an exhibition organized by Sgarbi at the Castello Estense of Mesola.

Caramel organized the exhibition Arte svelata-collezionismo privato a Como dall’Ottocento ad oggi, about the private collections of XIX and XX centuries in Como, which was mounted in the rooms of the Fondazione Ratti; during that event Cassinari exhibited Figura (Figure) dated 1958 and Composizione (Composition) dated 1959. He also took part into the following collective exhibitions: 10 artisti di Corrente at the Girasole of Lacchiarella, 1945-1965 Arte Italiana e straniera, about Italian and foreign art, mounted at the Palazzo della Promotrice of Turin, La natura morta nell’arte italiana del Novecento, about still lives of the Italian art in the XIX century, which was presented by Sgarbi at the Castello Estense of Mesola.

The N. Silbelberg Galleries of New York organized the personal exhibition entitled An exhibition of painting by Bruno Cassinari. Another personal exhibition took place at first at the Biasutti Gallery of Turin with a presentation by Marco Rosci, then at the Pace Gallery of Milan. He also participated to the exhibition Vitalità della figurazione-pittura italiana 1948-1988, which was presented by Sgarbi at the Permanent of Milan, and then to the exhibition Opere della collezione della Civica Galleria d’Arte Moderna di Gallarate held in Torre Pellice, where he exhibited Ritratto di Lorenza de' Medici (Portrait of Lorenza de’ Medici). In the same year he painted the so-called la Madonna dell'Assunta (Madonna of Assumption) for the “palio” of Siena.

Personal exhibitions took place at the Poma Gallery of Morcote and at the Andrè Gallery of Rome.Cassinari took part in the exhibition Italia anni Trenta, about Italian painting in the 30s, which was mounted at the Galerije Grada of Zagreb and presented works belonging to the collection of the Milan town administration.

At the Bergamini Gallery of Milan Dell’Acqua presented a personal exhibition of forty oil paintings and wash drawings by Cassinari; among those works there were also Luci d’estate (Summer Lights) and La calda estate (Hot Summer).A further personal exhibition was mounted at the Gioacchini Gallery of Ancona. Cassinari participated also to the exhibition "Il paesaggio valtellinese dal Romanticismo all’Astrattismo", about a specific Lombard landscape in the painting of Romanticism and Abstractionism, which was presented by F. Monteforte at the Palazzo del Governo of Sondrio at first, then at the Refettorio delle Stelline of Milan.

The Bergamini Gallery presented fifteen paintings on the occasion of the Biennial of Contemporary Art held at the Milan trade fair. Gianna Montesi’s Fiori chiari-Fiori oscuri was edited and printed by the editor Orlando Consonni of Milan and on that occasion even Ritratto di Treccani and Autoritratto (Self-portrait) were published. Personal exhibitions were mounted at the Biasutti Gallery of Turin, at the La Crocetta of Gallarate and at Montrasio of Monza.He took part in the exhibition Paeseaggi italiani-una situazione del secondo Novecento, about landscapes in the Italian painting of the second half of the XX century, which was mounted at the Galleria Comunale d’Arte Moderna of Conegliano. Moreover he exhibited also Mare a Portovenere (Sea in Portovenere) and Interno (Interior) at the Civic Gallery in the Castello Estense of Mesola and then at the Castello Svevo of Bari on the occasion of the exhibition Ritratto: il ritratto nella pittura italiana del ‘900, about the portraits in the Italian painting of the XX century.At the Modern Art Galleri Ricci-Oddi of Piacenza at the exhibition X Rassegna Nazionale d’Arte Contemporanea-proposte d’arte 1991, during which he exhibited Arrivée de la pêche, La bufera (The Storm) and Pesca notturna (Night Fishing). At the exhibition Anni Cinquanta-pittura in Lombardia, Piemonte e Liguria, about painting in Northern Italy during the 50s, which was mounted at the Castle of Sartirana, Cassinari exhibited also Natura morta (Still life). Other collective exhibitions were mounted in Vasto, XXIV Premio Vasto,l’arte italiana nell’ultimo mezzo secolo; da Corrente al Realismo, which was based on the development of Italian art from Corrente movement to Realism; at Palazzo Bandera of Busto Arsizio Artisti di Corrente 1930-1990; at the Mole Antonelliana of Turin Il colore del lavoro and in Forlì Il Ritorno, il lavoro nell’arte (with works of the Verzocchi collection), both exhibitions based on the job as painting subject.

Cassinari suddenly died in his studio in via San Tomaso in Milan on the afternoon of the 26th March and it was the anniversary of his wife Enrica’s death. His works were exhibited at the Palazzo dei Diamanti in Ferrara (Artisti di Corrente), at the Mantegna’s house in Mantua, at the Art Gallery of Cesena, at the Villa Versiliana in Pietrasanta, on the occasion of the exhibition entitled Giamaica, arte a Milano 1946-1959, about Jamaican art, at the Permanent of Milan (Pittura a Milano 1945-1990), at the Palazzo Pubblico in Siena (Il palio visto dagli altri), at Casalgrande (Figure e paesaggi nella pittura contemporanea italiana, about landscapes in Italian contemporary painting) and finally at the Chiostro Arte Contemporanea in Saronno (Paesaggi, about landscapes in general). In the same year the Cannocchiale Gallery of Milan mounted the exhibition entitled Cassinari, Guttuso, Morlotti, Sassu. On the occasion of the prize called Premio città di Jesi, in June an anthological exhibition was mounted for forty-one Cassinari’s works, which covered the period between 1931 and 1992; among them there were also Enrica in giallo (Enrica in Yellow),La finestra (The Window), Il grano maturo(Ripe Corn).Four of his paintings, including Frutti di mare(Shellfish) and Il porto di Antibes (The Port of Antibes), were exhibited at the event held in Lionello Venturi’s honour entitled Da Cézanne all’arte astratta (about the painting from Cézanne to Abstractionism), which took place first at Palazzo Forti in Verona and then at the Modern Art National Gallery of Rome.

During the exhibition Pittura e realtà mounted in Ferrara and in Cento four of Cassinari’s works belonging to the 40s were exhibited. Ritratto di Rosetta (The Portrait of Rosetta) and Panno viola(Purple Cloth) were exhibited at the Modern and Contemporary Art Gallery and at the Carrara Academy in Bergamo during the exhibition Gli anni del Premio Bergamo: arte in Italia intorno agli anni Trenta, about Italian art during the 30s. 1995 : At the Consulenti del Lavoro Cultural Centre during the exhibition Quasimodo, la pittura, i pittori, about the relationship between that Italian poet and painting, Cassinari’s Ritratto di Salvatore Quasimodo (The Portrait of Salvatore Quasimodo) was exhibited. The Nuova Gissi Gallery organized an exhibition entitled Cassinari-Morlotti, in their honour.

A personal exhibition was mounted at the Braga Gallery of Piacenza and it was organized by Dell’Acqua and Stefano Fugazza, who presented a written text on the catalogue too. The Piccola Galleria of Savona also dedicated a personal exhibition to the dead painter. Cassinari’s works were exhibited in many collective exhibitions too: in Chiavari (Arte nel Tigullio), in Cremona (Attraverso l’immagine, pagine del’900 nelle riflessioni critiche di Elda Fezzi), at the Triennial of Milan (Le ragioni della libertè a cinquant’anni dalla Resistenza, about the period of the Resistance Movement), in Travo (Artisti nel Castello), at the Casa dei Carraresi in Treviso (Figure della pittura-arte in Italia 1956-1968), and in Ferrara at the Modern and Contemporary Art Gallery (Il pittore allo specchio-autoritratti italiani del ‘900, about the Italian self-portrait during the XX century).

The Modern Art Gallery of Verona organized the exhibition Le icone di Cassinari, about Cassinari’s icons: that was a very important event thanks to the many unpublished works among the seventy-five exhibited paintings. Those unpublished works had been discovered during the process of cataloguing made by the Comitato per il Catalogo Generale di Bruno Cassinari, in other words a sort of committee for Cassinari founded in 1993; among those works there were:Figura seduta (Sitting Figure), Ritratto di Gianluigi Bianchi (The Portrait of Gianluigi Bianchi), Ragazz (Boy), La madre (The Mother), Gropparello (Gropparello), Natura morta con brocca e limone (Still Life with Jug and Lemon), Ritratto di Carla Fracci (The Portrait of Carla Fracci),Le lampare.(Lamparas), Finestra a Gropparello (Window in Gropparello), Estate in collina (Summer in the Hills), Finestra verde (Green Window). The exhibition was organized by Rosci and then it was mounted in San Lorenzo church in Aosta. Two works were also exhibited at the Lorenzelli Gallery of Bergamo on the occasion of the exhibition entitled Veca-Longaretti da Brera alla Carrara.

The Spazi Arte Gallery of Piacenza and the Galleria Ducale of Vigevano dedicated two personal exhibitions to Cassinari. His works were also exhibited at many collective exhibitions: in Sondrio (Arte a Milano 1946-1959, reale, concreto, astratto, organized by M. Corgnati), at the Palazzo dei Diamanti in Ferrara (Milano 1950-59, il rinnovamento della pittura in Italia, about the renewal of Italian painting, organized by F. Gualdoni), at Casa Moretti in Cesenatico (Cercatemi in giardino, gli orti dell’anima da Pascoli ai crepuscolari), at the Permanent of Milan (Stanze del paesaggio lombardo) and finally at the Modern Art Gallery of Bologna (Arte italiana, ultimi quarant’anni, pittura iconica, about the iconic painting of the last forty-years period). The exhibition La collezione Boschi-Di Stefano was mounted at the Pavilion for Contemporary Art in Milan and there Cassinari’s following works were exhibited: Profughi spagnoli (Spanish Refugees), Due Profughi spagnoli (Two Spanish Refugees), Il tavolino nero (The Small Black Table), La pianista (The Pianist) and Nostalgia del mare (Nostalgia for the sea).

A general catalogue about Cassinari’s paintings was published in two volumes by Electa and edited by Rosci and it presented written texts by some important critics such as Anzani, Bossaglia and Dell’Acqua. The Bonaparte Gallery of Milan and the Biasutti Gallery of Turin dedicated two personal exhibition to the dead painter; moreover his works were also exhibited in Turin at the exhibition entitled Corrente.At the Permanent of Milan on the occasion of the exhibition Una stanza a Montmartre-il paesaggio francese nella pittura italiana da Boldini a Birolli (about French landscapes in the Italian painting) two of his works were exhibited: La pesca con le lampare(Fishing with lamparas) and Port d’Antibes (The Port of Antibes). In the same location another exhibition was mounted, Corrente e oltre: opere dalla collezione Stellatelli 1930-1990, where nine of his works were exposed; among them: Ritratto di vecchia signora (Portrait of Old Lady), Pomeriggio(Afternoon) and Finestra di sera (Window in the Evening).

The Biasutti Gallery of Turin dedicated a personal exhibition to Cassinari. Besides in Mantua during the exhibition about nature and landscapes in Italian painting (Sognare la natura-il paesaggio nell’arte a Milano dal Novecento all’informale 1919-1959) organized by E. Pontiggia the following workswere exhibited: Gli alberi (The Trees), Arrivée de la pêche, Mare e palme e Gropparello (Sea and Palms in Gropparello).

In Monza at the Serrone della Villa Reale three Cassinari’s paintings were exhibited in the exhibition La Brianza dipinta (about the painting related to the landscapes of a particular area of Lombardy); five works were exposed at the Biasutti&Biasutti Gallery of Turin in the exhibition Corrente.

The Civic Gallery of Sarnano organized the exhibition entitled Bruno Cassinari pittore e scultore: it was presented by Rossana Bossaglia and included more than forty works what with paintings and sculptures. In the same period the anthological exhibition Natura e colore (Nature and colour) was mounted in the Chiesa dell’Angelo, a church in Lodi, by F. Pensa and it counted about twenty paintings. Further works were exhibited in the following collective exhibitions: Il 1950-premi ed esposizioni nell’Italia del dopoguerra, about Italian exhibitions in the post-war period, organized by Emma Zanella Manara at the Modern Art Civic Gallery of Gallarate; Realismi held at the Montrasio Arte of Milan; Realismi-arti figurative, letteratura e cinema in Italia dal 1943 al 1953, about figurative arts in general, mounted by L. Caramel at the Palazzi dell’Arengo e del Podestà of Rimini.

A personal exhibition was mounted at the Mazzoni Gallery of Piacenza. Moreover two of Cassinari’s works were exhibited at Surrealismo padano da De Chirico a Foppiani 1915-1986, an exhibition about the Surrealism in the Po area presented by Sgarbi, which took place first at the Palazzo Gotico of Piacenza and then at the Revoltella Museum of Trieste.

Anzani and E. Staudacher organized the exhibition Bruno Cassinari-Cinquant’anni di pittura-Opere dal 1939 al 1989, which took place at the Castel Ivano near Trento. The personal exhibition Bruno Cassinari: la memoria del mare, about sea as painting subject in his works, was mounted in the Biasutti&Biasutti Gallery of Turin. Seven of his works were exhibited at the Bandera Art Foundation of Busto Arsizio on the occasion of an exhibition about the Corrente Movement (Ernesto Treccani e il movimento di Corrente), which was organized by M. Pizziolo. Four of his works, among which Antonio e Giovanna (Antonio and Giovanna) and Composizione con brocca (Composition with Jug) were exhibited at the Serrone della Villa Reale of Monza during the exhibition (Guido Pajetta fra primo e secondo Novecento) organized by Paolo Biscottini, Enrico Crispolti and Antonello Negri.

At the Spazio Oberdan in Milan some of his works were exhibited on the occasion of the following exhibitions: Milano Anni Trenta-l’arte e la città, about Milanese art during the 30s, organized by N. Colombo and E. Pontiggia and La fabbrica del futuro, organized by M. Punzo. In Piacenza the Nuovo Spazio Arte Contemporanea presented Omaggio a Bruno Cassinari, as a tribute to the dead painter.

At the Villa Filippini in Besana Brianza nine of his works were exhibited during Il cenacolo verde (Artists Green Meeting Place), an exhibition organized by M. Pizziolo. (Artists Green Meeting Place), an exhibition organized by M. Pizziolo.