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”.
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