into contact with the art of Edgar Degas, Henri de Toulouse-Lautrec and Théodore Géricault. In the same year he began his collaboration with the periodical Simplicissimus, which lasted until 1908. In 1906 he exhibited for the first time with the artists of the Berlin Secession: his visits to these environments continued until the first half of the 1930s, also as a member of the jury of some exhibitions. In 1911 he married Martha Bermann, a German from Hanover, and opened a studio in Berlin, making it his permanent residence. In the same year, a trip to Paris led him to frequent the theatrical environment, including the so-called Ballets russes organized by Sergei Diaghilev. He also often worked at the Deutsches Theater in Berlin as a decorator. De Finetti therefore worked as an illustrator, graphic designer, painter (especially starting from 1912) and satirical cartoonist, collaborating with numerous periodicals, including Lustige Blätter and Berliner Zeitung. At the outbreak of the First World War, De Finetti chose not to leave Germany and worked in newspapers and in the production of advertising posters: however, his father's death in 1919 led him to frequent Italy more. In 1920 he participated for the first time in the Venice Biennale, then returning in several following editions (1924, 1928, 1932, 1934, 1953). Exhibitions of him were organized both in Germany and abroad (Poland, Netherlands, France). In 1924 one of his personal exhibitions in Milan achieved moderate success. In 1922 he set up a studio in the family villa in the municipality of Mariano del Friuli, in the Corona district: the house served as both a home and a studio. In 1926 an exhibition in Amsterdam saw him exhibit with the Trieste painter Adolfo Levier. In 1928 he exhibited again in Amsterdam on the occasion of the Olympic Games held there. In Italy he was especially known for his sports-themed prints (horse riding was often the focus of his works). Alfredo Stendardo of the Giornale d'Italia defined De Finetti as "the painter of movement, the painter of vibration, the painter of life". In 1934 the rise of the Nazi regime in Germany persuaded De Finetti and his spouse to leave the country and move to Italy, to the villa in Corona. Back home, he devoted himself to both painting and illustration, also drawing for the Gazzetta dello Sport. He frequently exhibited at the so-called sindacali (that is, of the