He opened a studio and started a brilliant career by painting portraits of rich and important people and also began an intense social life since he was always invited to theater premiers, dinners and parties where he had the chance of meeting people passing by in Buenos Aires such as Toscanini, Tina Di Lorenzo…All this until he decided to go back to Italy for a while to visit his family. He left with a round-trip ticket for Buenos Aires and upon his return he had planned his first individual exhibit there.
In 1914 the European political panorama was worsening and soon the events deteriorated and instead of leaving for South America he left for the World War  I front! As for the period in Argentina, for  these very harsh years there are numerous letters he wrote to his family which tell about a war seen and fought from a painter’s standpoint.
Recruited as a soldier-draftsman, during the night he went close to the enemies’ lines to draw the war emplacements while during the breaks he left the trenches and behind the front line he painted portraits of generals or fellow soldiers, views and even flowers to prove that beauty and life were stronger than the destruction and horror of war.
He was discharged in1919. He never went back to South America. He opened a splendid studio in the heart of Turin: from the big terrace on the rooftop he had a breathtaking view of the Guarini cupola, of Palazzo Madama and in the background  the soft curves of the hills…It was the place he surely loved the most, not only a studio but a happy island in which he went on painting  according to his sensitivity without following the new artistic trends which had monopolized the official critics and the artistic scene after the end of the war. It wasn’t a simple choice but surely a “choice of love”.
His career proceeded combining the fact of being a sought-after and appreciated portrait painter with an intense easel activity: views and still-lives, up to 1922 when the great fresco-painter Casanova called him to help him with the huge frescos he had to do in the Basilica del Santo in Padua. So, as in a circle coming to a closure, there he was again in front of walls. He had learned to paint from his grandfather with the refined voluted decorations of the art nouveau style when he was little more than a child and now they gave the start to his long and prolific career as a fresco-painter. Together with the ever-present easel activity, his long series of frescos in churches, public palaces and private houses in most Italian cities begins.Around 1930 he arrived in Savona to paint a fresco in the Church of Saint John, but he had mistaken the measurements of the preliminary sketches which were very big and so to enable him to redo them on the spot he was allowed to use a terrace which adjoined another one where the young Amelia Masciolino lived…they got married three years later! “I got married due to a mistake..” he used to joke whereas they were a strong and united couple for more than forty years.