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Reading the biography of Bruno Saetti, one can easily understand why he was the most representative Italian artist in the 20th century. His career, characterized by many exhibits and prizes, was far more different than any of his contemporaries'. His work covers a great variety of genres and formulas, both in terms of imagery and style. Although he was not the greatest artist of his time, since the 20th century saw the activity of many successful Italian artists, Saetti was one of the few who did not settle for the definition of a personal style, but rather tried to adapt his work to the different experiences of life. By doing so, he provided a framework for the different historic trends that developed in art. While studying art in Bologna, Saetti was influenced by the typical, post-impressionist vogue that characterized the taste and cultural choices of Bolognese artists. A good example is provided by Ritratto di famiglia ("Family portrait", oil on canvas l00x70 cm), which was probably painted in those years, as well as by Ritratto della madre ("The mother's portrait", Brunetti collection, 1925). The latter has an incredible precision, which we could almost define cruel since it neither softens nor transfigures the modest simplicity of traits and pose; nonetheless, it provides a clear example of late 19th century realism. This taste was appreciated by the middle-classes, who often commissioned these works. The middle class was interested in a simple, yet communicative and lively language; Saetti, always well-informed about the artistic and cultural currents of his time, never yielded to fashion. Saetti's decision not to be influenced by Sironi was dictated by choice, not by incompetence. This attitude seems to explain why for some time Saetti did not pay much attention to Morandi, whom he knew and appreciated. Morandi's influence became more evident in the 1930s, when Saetti abandoned the 19th century quality of his first paintings and reached a formal simplicity, under the influence of Chiari. This new influence is evident in the tempera I figli del pittore (The painter's children) or in the fresco Donna e amorino (Woman and Cupid): these works are suffused with a soft light which almost transfigures the characters, without spoiling their naturalistic quality. This new quality can be also found in later works, which derive from new experiences. We could argue that the beautiful Autoritratto con la famiglia, ("Self-portrait with the family", 1931) marks a crucial passage from the fluency of the earliest works to an intense yet soft realism. Later on, Saetti made another step forward, leaving behing the old formula of Melli and Mafai. The painter entered a new phase of expressive, transcendent purity; even while adding some descriptive details to his works, he never gave up to the picturesque. He also worked at some popular themes, such as the pictures of the Venetian landscape. However, the use of a quick brush-stroke and the stylization of places and monuments made these works far more different than those of his contemporaries. The "Giudecca" at night is not just the usual picture we know, but rather its contrary, since the artist loved playing with different techniques. The use of various techniques makes the works of this period particularly interesting; the fresco, whatever material the painter chooses, is one the master's favourites: it softens and lights up wood. On the other hand, oil painting makes the background softer and fluid, even when the material is just a plain cardboard. The decoration of interiors is characterized by pink tones which gradually turn into pale yellow; Saetti loved changing and transforming colours. However, if we look at the majority of his works, we could say that his favourite tones are red and pink. The colour red prevails in the background of his paintings, almost as if it were a trace of sun; once it fades, it never reaches the full, violet tones of a real sunset. As regards the choice of images, Saetti always tries to satisfy his clients' desires. However, Saetti interprets these desires freely: he deals with religious themes with an incredible ease and sobriety. These themes were dear to Saetti, who was a fervent believer. He often dealt with the theme of motherhood, seen as a pure and sweet feeling suffused with melancholy. The image of the angel is another theme dear to Saetti, and it often recurs in the works of the 1930s (as in the cardboards he made for some glass windows). Nature is also transfigured in Saetti's religious paintings through the symbolic image of the moon, almost a delicate and mysterious light of the night. If we follow the course of Saetti's career, we can see that his works of the 1950s were influenced by some international currents of cubist origin, even if the artist remained faithful to his style. Saetti was and still is a figurative painter, even if abstractism somehow gives a geometrical form to his style. When applied to a colourful, intense and lively painting, Saetti's abstractism never spoils the naturalism of images: the sun always remains itself, and together with the moon it becomes one of the artist's favourite images. Saetti's style is easily recognizable, both in his landscapes and in the details of interiors; all these images have an absolute, formal simplicity. When Saetti started looking back on his earliest works, he was suddenly fascinated by Casorati and his school, almost as if 20th century art was re-emerging from his fantasy. However, Saetti was not influenced by Sironi, whose production was far more different than our master's. If we consider the fact that both artists were great and original, yet different from each other, we could argue that the greatest masters of 20th century Italian art are certainly Saetti and Sironi. Saetti's production is influenced by oriental themes and atmospheres, not just in terms of style but of symbolic meaning. At a certain point, the image of the angel started to prevail as an element of deep inspiration throughout his work. If we compare the artistic careers of Saetti and Sironi, we can add that both artists were awarded important prizes even after the fall of the fascist regime. These two artists took part in the realization of big, public works, some of which were not even finished, like the complex structure of E42; even in the post-war period, both artists were active and worked for public clients. Saetti was often invited to international exhibits; a lot of churches commissioned their works to him. Moreover, the artist dedicated himself to poetry, almost confirming his interest in other arts. The most significant and fascinating work Saetti realized in the post-war period is the mosaic for Michelucci?s church on the "Autostrada del Sole"; the work was completed in 1963. It was a complex and hard job; the mosaic had to be divided into many pieces and recomposed before being exposed, but the result was impressive. This mosaic represents the artist's farewell to his creativity. Even if Saetti realized many works after this mosaic, always adopting new formulas and techniques, his last works were not as original as the first. Nonetheless, his exhibiting activity continued; various anthological exhibits of his works were held in different countries. These exhibits showed how Saetti's creativity was always accompanied by stylistic coherence. A beautiful sculpture stands in the middle of Saetti's garden as a symbolic witness of his expressiveness, talent and skill; unluckily, the artist's wish to leave a mark as a skilful master who loved art was disappointed