Cesare Andreoni in the end of '30

After graduating from classical high school in Milan, he was involved by the milanese and italian cultural climate of the first years of the century. In 1924 he attends the Cattaneo’s lessons in Brera and in November of the same year he takes part to the futurist congress in Milan and in that circumstance he applies for membership. Since that time Andreoni keeps on meeting F.T.Marinetti, he becomes member of the movement “Futurism between the two wars” and he takes part, together with the futurists, to Venice “Biennale” Exhibitions (from 1930 to 1940) and to Rome “Quadriennali” Exhibitions in 1935 and in 1939, and to other public happenings of the group.
As a consequence he attends, in 1931, to the Mostra futurista di Aeropittura e di Scenografia (Futurist Exhibition of Aeropainting and Scenografy) at the Pesaro Gallery in Milan; he takes part in 1932, to the exhibition Enrico Prampolini et les aeropeintres futuristes italiens organised by the Galerie de la Renaissance and, one year later, to the Mostra futurista in onore di Umberto Boccioni (Futurist Exhibition in honour of Umberto Boccioni) and again at Pesaro Gallery to the Mostra Nazionale d’arte futurista. Aeropittura arte sacra pittura scultura futuriste (National Exhibition of Futurist Art, Aeropainting, holy art, futurist painting and sculpture) of Livorno Art Laboratory; lastly, again in Paris to the Exposition des Futurists italiens, (Bernheim-Jeune Gallery): a part of the works of this exhibition shall be later moved to the Neue Galerie in Wien.
In 1931 he signes with Munari, Manzoni, Duse, Gambini, and Bot a manifesto to support the aeropainting during the already mentioned exhibition in Pesaro Gallery; furthermore, in 1934 he signes the Manifesto of the Futurist Mural Plastics.

The friendship and cooperation with Enrico Prampolini are openly demonstrated with the fifth,
sixth and seventh Triennale in Milano.
For the 1933 exhibition, Andreoni cooperates with the design and decoration of a civil Airport, realised in the Sempione Park; for the 1936 exhibition he designs the Representing Hall for Aprilia municipality together with A. Celesia and he exhibits in the Mostra Internazionale di Scenotecnica teatrale (International Exhibition of Theatral Scenografy); for the 1940 exhibition he realises the preparation and arrangement of a Tourist Office.

In March 1941, just before being sent to the front, his personal exhibition at the Famiglia Artistica is introduced in the catalogue and opened by Marinetti, who closes his essay stating that Andreoni
“ deserves the award of great futurist aeropainter”.
Remarkable are both Andreoni’s production of advertising and editorial graphic (e.g. the design of “La casa ideale”, since 1929; sketches for “L’Ambrosiano”; his taking care with Enrico Bona of the 1939 issue of “Campo Grafico” dedicated to Futurism, in which also his writing “Futuristic Advertising” is published) and of space design – including exhibitions stands– for several companies.
The objetcs, or, better, the “creations related to fashion and to fittings” which he produces in those years in his shop, the only one in Milan, and which have already been exhibited in Bolzano in 1929, and published by the specific magazines, are very interesting as well.

Together with these researches, Andreoni elaborated thoughts which are close to the positions of the abstractionists belonging to the Milione group.
He came back sick from the experience of the russian campaigne and, further to this experience, he reconsidered his way of painting and he meditated about his capability of artistic expression; this research, including his oil paintings, is documented in the volume “Disegni di Russia” (Russian Drawings) ( Il Milione).
Since 1948 he kept painting with a great carefulness to movement research and problem of colours until his death in 1961 due to a bronchial asthma