He has illustrated Chiara Frugoni's children's texts including several books featuring Saint Francis of Assisi (Feltrinelli edition), and 'La storia della libellula coraggiosa', Feltrinelli ed.’
He has also published drawings and watercolours in books dedicated to beloved places: Venezia, Asolo, Bergamo, Monte Grappa.
His latest collaborations are visible in the poetry books 'Il cielo semmai'with Laura Anfuso, inspired by the natural world in its variations, and 'Cansiglio. Variazioni di paesaggio' with Pier Franco Uliana, dedicated to the Cansiglio Forest.
Much appreciated were his exhibitions related to the publication of books. Some of his works were exhibited at the Royal Institute of Painters in Water Colours in London in 2009.


When I was a student at the Accademia di Belle Arti in Venice I saw beauty everywhere.

I often stopped incredulous, in front of Giorgione's tender and inscrutable paintings, Carpaccio’s harmony in composition, Bellini’s altarpieces with their surprising chromatic energy and Titian’s tonal approach to painting. I often asked myself, how was it possible to infuse that golden light into paintings, those indefinite nuances in the upcoming dusk, those naturally warm greens which characterize the countryside in Venetian landscape.

After much thought, I considered how much ability, experience, centuries of knowledge acquired in the field were in the hands and in the hearts of those artists I was enthralled by.


After finishing my studies at the Accademia, I was lucky enough to meet a master: one of my teachers, who had worked in the best Italian theatres, offered me the position of working in a set design laboratory. At the time our work still copied the great painting tradition, using ancient masters’ methods. This is where I learnt the correct use of pigments and how exhausting and demanding the method was. During this period of work we acquired broad knowledge of the nature of colour, its chemical composition and its possible matching.

I realized that, if I wanted to make progress, I had to carry along that path. I decided to take a step back to the origins of painting. I started studying ancient pigment recipes from qualified masters, seeking patiently for materials to fit my purpose

That was long and complicated, but fundamental in the acquisition of technical notions indispensable for creating the paintings I love.

The first thing to do was getting hold of the tools of the trade.

This path led me to the creation of FORESTO products.

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