It was, in fact, on the eve of a turning point. Far beyond Venice some other ferments were moving. Baldessari had certainly got wind of the futurist poetics that had been inflaming the younger generations for some years. Precisely in Venice there had been the launch of futurist posters from the clock tower, on July 8, 1910, with the proclamation ‘Against Venezia Passatista ‘, an event he was certainly aware of, and perhaps he had probably attended, and then in his Rovereto, already since 1913, had been a futurist circle animated by Depero. Furthermore in Venice, in the early ten years also Boccioni had exhibited some works, which if not already futurist, were certainly divisionist … And precisely divisionist, halfway between the style of Boccioni and that of Carrà, were the first experiments of a Baldessari who was moving away from the ‘lesson of the bright color’ received by Ciardi. For instance a woman’s face painted then in Venice shows a lot about Boccioni’s influence. In addition, since 1914, the Futurists also committed themselves on the political side, launching an insistent “interventionist” campaign, for the entry of Italy into the war against Austria and the liberation of Trento and Trieste. In short, art was becoming not only a figurative fact but also a properly existential, total event. And it is precisely in this period, and in this social context that, also following the reunification with the family, arrived in Venice to escape the rush of war events in Trentino, in the early months of 1915 took place the Baldessaris’ transfer to Florence.