1945 to 1948 he drew and painted frequently. In the same period he visited the Feroldi collection, which included The Disquieting Muses by Giorgio de Chirico, the Lying Nude by Amedeo Modigliani, and works by Giorgio Morandi, Henri Rousseau, André Derain, Alfred Sisley and Paul Cézanne. He also visited Venice, where he painted landscapes, and Burano, where he met the painter Filippo De Pisis. At the Procuratie, in front of the Tempest by Giorgione, he met artist Emilio Vedova. Vedova proposed to organize an exhibition in Cavellini's house, with the help of painter Giuseppe Santomaso and art critics Giuseppe Marchiori and Marco Valsecchi. The collector The exhibition was successful, and many young artists contacted Cavellini to ask him to show their works. Among them was Renato Birolli, whom Cavellini befriended and from whom he acquired the 86 Drawings of the Resistance and the painting The Woman and the Moon. In December of the same year Birolli and Ennio Morlotti traveled to Paris on a scholarship of the French government. In June 1947 Cavellini met them in Paris with his wife, and there he visited the main museums of the city (the Louvre, the Petit Palais, the Jeu de Paume), the art galleries and the studios of artists Gino Severini, Óscar Domínguez, Édouard Pignon and Henry Adam. He was disheartened by the comparison to the great artists of the past and present, so he decided to abandon painting and work full-time on his commercial activity and on his collection. In the same year he acquired two paintings by Renato Guttuso, and in March 1948 he traveled to Rome because one of his paintings was exhibited at the Rome Quadriennale in the National Gallery of Modern Art in Valle Giulia. There he met Guttuso, whom he befriended, and art critic and historian Lionello Venturi who had just returned to Italy after his exile during Fascism. Venturi recognized the importance of Cavellini's work and in 1953 published an article about him in the daily newspaper La Stampa. Because of his sudden popularity, Cavellini's father and brother, who was president of the chamber of commerce of the province of Brescia, asked him to avoid contact with artists because they were afraid they might be communists. Despite this Cavellini kept collecting art and visiting artists in Rome in the weekends, especially the home of Guttuso and his studio in the park of Villa Massimo. There