Shortly thereafter, the artist found himself to face the obvious formal outcomes of Florentine Futurism which, having exhausted its analytical path, firmly turned to a remeditation of Cézanne (the so-called neo-Cézannian figurative crisis), then set off on a serious plastic reconstruction and, with the new decade. approached the poetics of the Novecento movement, a return to rigor, primitivism, order, that actually characterized a bit across all Europe the general retreat of the post-war art towards a more ‘reassuring’ sphere, after the avant-garde fury. And that wind of revision, which blew over artistic Europe, transformed the anxieties and fury of the avant-garde into existential anxieties, in the search for a fixed point, a reference, which was identified in the ‘return to the craft’, to a solid planning. So the artists looked at Giotto, Paolo Uccello, Piero della Francesca … and in 1916 Picasso, after having broken every order in the image, went on ‘pilgrimage’, to Pompei to rediscover Classicism. In February 1919, at the Galleria Bragaglia in Rome, Giorgio de Chirico with his metaphysical mannequins shocked the headquarters of Futurism. Baldessari did not stand by … But this is a way on which Baldessari, unlike many artists, walked with alternate vicissitudes, and with many abrupt deviations of direction to come finally to a precise expressive turn, thanks to his continuous travels and his contacts with the best representatives of the European culture.