CESARE ANDREONI - Biography
After graduating from classical high school in his hometown, he was involved in the Milanese and Italian cultural climate of those early years of the century. In 1924 he attended Cattaneo's courses in Brera and in November of the same year he attended the Futurist Congress in Milan and on this occasion he asked to join the movement. Since then Andreoni is linked to Filippo Tommaso Marinetti and participates with the Futurists in the Venice Biennials (from that of 1930 to that of 1940) and in the Rome Quadrennial of 1935 and 1939, and in other moments of public "release" of the group .
Thus he was present, in 1931, at the Futurist Exhibition of Aeropainting and Scenography at the Milanese Galleria Pesaro; participates, in 1932, in the Enrico Prampolini et les aeropeintres futuristes italiens exhibition organized by the Galerie de la Renaissance, and the following year in the Futurist exhibition in honor of Umberto Boccioni, again at Pesaro, and at the National Futurist Art Exhibition. Aeropainting sacred art painting futurist sculpture of the Bottega d’Arte of Livorno; finally, again in Paris, at the Exposition des Futuristes italiens (Galerie Bernheim-Jeune) whose works will be partly transferred to the Neue Galerie in Vienna.
In 1931 he signed with Munari, Manzoni, Duse, Gambini and Bot the manifesto of the Milanese aeropainters in support of that of aeropainting on the occasion of the aforementioned exhibition at Pesaro; moreover, in 1934, he signed the Futurist Mural Plastic Manifesto.
The friendship and partnership with Enrico Prampolini are explicitly realized on the occasion of the V, VI and VII Triennale of Milan. For the 1933 edition, Andreoni collaborated on the design and decoration of the civil airport station, built in the Sempione Park; for that of 1936 he designed, in collaboration with A. Celesia, the Representation Hall for the Municipality of Aprilia, and exhibited at the International Show of Theatrical Scenotecnica; for that of 1940, finally, he realizes the preparation and organization of a Tourist Office.
In March 1941, shortly before his departure for the front, one of his personal exhibitions at the Artistic Family was presented in the catalog and inaugurated by Marinetti, who closed his text by declaring that Andreoni "deserves the title of great futurist aerial painter".
Impressive production of advertising and editorial graphics (his, for example, the image of "The ideal house", from 1929; cartoons for "L'Ambrosiano"; the curation, with Enrico Bona, of the issue of "Graphic field", 1939, dedicated to Futurism, on which one of his writings Futurist advertising is also published) and environmental design - among other things of exhibition stands - for numerous companies. Of considerable interest are the objects, better the "creations applied to fashion and furniture", that his "workshop", the only one in Milan, produced in those years, exhibited as early as 1929 in Bolzano and reviewed in trade magazines.
In parallel to these researches, Andreoni elaborated reflections close to the positions of the abstract artists of the group of the Million. The experience of the Russian campaign, from which he will return prostrate even physically (and the aftermath of bronchial asthma is due to the crisis that will cause his death in 1961), requires him to rethink and reflect on his expressiveness, well documented also by the Drawings of Russia (ed. Il Milione), which also presents his oils.
From 1948 to his death he will continue to investigate new forms of expression, always attentive to the themes of movement and the problems of color
