1928 Born in Cassano d’Adda (Milan)


1943 - 1945 Attended the studio of Prof. Panina in Treviglio (Bergamo). Discovered the observation discipline and the painting method as own language.


1947 - 1948 Consecutively winner at a competition in Rome, hold by the Minister of Education and Culture, of a study grant and of the first prize for painting. Giorgio de Chirico, member of the jury, invited him twice to his studio in Rome. His choice was taken: painting and sculpture oriented his existential interests to Milan, where he settled in 1947. He attended the Brera Academy, where he met Carlo Carrà. He also attended the art school at the Sforza Castle.


1949 Met the sculptur Marino Marini and assimilated form him in an innovative way the concepts of plasticism. “Plastic Deductions” were his works from 1949 to 1951. He discovered cubism and futurism and examined very closely the relevant historical grounds. Together with two young artists, Costantino Guenzi and Bepi Romagnoni, met at the Giamaica two years before, he visited the studio of Attanasio Saldati.


1950 He was consolidating his aims of art research and going about, as active protagonist, with artists and friends Giuseppe Guerreschi, Mino Ceretti, Gianni Dova, Cesare Peverelli, Umberto Milani, Luigi Grosso, Walter Cremonini, Gianfranco Ferroni, Giuseppe Aimone, Alfredo Chighine, and many others.


1956 The industrialist patron Paul Ricard invited him in France. In the city of Arles, in Provence he met Pablo Picasso, who invited him in Cannes, to his studio at “The Californias” Villa. He lived and worked in Camargue and in Marsiglia.


1957 - 1958 For Paul Ricard Fondation the painted, in the “Musée des vins et spiritueux” in Bendor (Bandol-Var), a 140mq mural about the history of wine over the centuries. In this period he proposed Paul Ricard the beginning of a cooperation to set the alliance project between art and industry, as an organic alternative to the poorness in private hobby of collecting and the slowness of museums of contemporary art towards incentive interventions for supporting the young artists.


1958 During his stay in the south of France, he got in contact with the literary man and dramatist Marcel Pagnol, at the Académie Française, and they met several times at his studio in Ile de Bendor.


1960 He was back to Milan. At the beginning main themes were “the headlights”, “the city and the asphalt”, “chromosomes”, but “the river” will be, if compared to the other themes, the most gnosiologically examined and followed until 1964.


1965 Paul Ricard newly invited him to France. Obtained the appointment to project paintings and sculptures of big dimensions to be inserted into the new production centres of Ricard Society, in the cities of Rennes, Digione, Lille, Lione, Marsiglia, Parigi, Bordeaux, Cannes-Mandelieu. The whole project lasted seven years, from 1965 to 1972.


1966 - 1967 Together with Paul Ricard they constituted “l’Académie de Bendor”, a school of methodology on the observation for drawing, in the city of Bandol, on the Cote d’Aruz, where he worked as a teacher for one year.


1968 During the period spent in Bandol, he met several times the historian Jérome Carcopino, also in his studio, thanks to their common interest for the roman history of which Carcopino was enthusiast student. Always in 1968 he made a study-travel all around Spain.


1970 He painted the triptych "Monuments felès", three works of 2x2,20 mts dimensions each. An aesthetic place of consideration on existential problems and artistic image.


1971 In Cassano d’Adda, the city where he was born, was organised an important anthological exhibition. He carried on some studies and a preliminary sketch for a steel sculpture of 15 mt. height to be inserted inside the autodrome Ricard at Castellet, in Var country. The work was refused for stylistic problems. At the end of 1971 he gave his resignations from the Fondation Paul Ricard and in 1972 he was back to Milan.


1972 On his request, the “Fondation Paul Ricard” from France, gave as a present to Zappatoni hospital in Cassano d’Adda one of the three works, part of the triptych "Monuments, Felès", entitled “La guerre et la paix".


1974 On Union Carbide Society proposal he designed and illustrated with his original works the 1974 agenda. In collaboration with Alberto Veca, he projected and realised a theoretic-graphic work entiteld “For the individuation of a plastic space”, with an historic preface by Enrico Crispolti.


1978 He dedicated a series of drawings at the Liguria region having themes taken from popular and rural culture. An allegoric figural imaginary about villages, habits and legends proper of individuals inserted into a fabulous draft “Rocaperti and the cuniggiu". In this years in his drawings and watercolours, titled “Carne-Vale”, he also treated the theme of Carnival under the ironic-allegoric aspect. Edition and presentation of the complete work are scheduled in the next future


1984 - 1986 For the “Catholic People “ founded and directed by the reporter Amanzio Possenti in Traviglio, he made a series of drawings and watercolour paintings for the newspaper cover, on the base of actuality themes as young people, old people, job, information, etc. He is invited at Palazzo dei Diamanti in Ferrara to deliver an exhaustive speech about his works having the theme “Avitauro’s miracles”. He began the compositive studies for the work “More than Happiness”. He took part at special interventions or donations by Italian artists for English pitmen, for Nicaragua, Falk Palace (Milan).


1987 On request of  the Reynolds Tobacco Co., in Winston Salem, North Carolina, he created the work entitled "The light-The leaves" of  6x3 mts dimensions.


1988 He goes on with  his work  of definition and cohesion of the images composing the work (8x3,70 mts dimensions) entitled “More than Happiness”.  He dedicates once more to sculpture, already practised in the past years,  with a cycle of works dedicated to the “myth” and his understanding, using a concept synthesis called “Myth Essence”


1989 He still dedicates his work to painting and sculpture.


1991 He began working at an antological detailed order of his job as painter and sculptor when he was in France, for a reasoned monographic collection.


1992 On request of Eni commission he composed a significant lithographic work with six colours, entitled “Continuous Energy”, print with hand-press by Giorgio Upiglio in 120 samples.


1994 He made two drawings for “The Little Prince” tale by A. de Saint-Exupéry, edited by the Dars Agency in Milan.


1990 - 1999 Themes: “Ercolano’s gates”, “The warrior trilogy”, i.e. the horse image, “Tra-Perari”, “The Warrior”, “Spider web”.


1993 - 1995

Themes: "Mater Bosnia", "Andrèia", "Sicilia, Sicilia, for Borsellino, for Falcone".


1999 - 2000

The end of  “More than Happiness” (8x3,70 mts dimensions).
He will present the work (27 themes) in Milan.