which was published in 1957 with a preface from Levi himself. Intimate reflections expressed in verses, opened Martini's road to poetry. Across the '50s and '60s, Quinto Martini published some tales and poems for the "Nuovo Corriere" of Florence, while many more remain still unpublished. In 1974, his second novel Chi ha paura va alla guerra is printed in Catanzaro for the Frama's Publisher edited by Pasquino Crupi, where Quinto Martini tells the story of a deserter during the First World War. With clear inspiration and sound form of expression, the artist animated the "Nuovo Umanesimo" art group with Ugo Capocchini, Emanuele Cavalli, Giovanni Colacicchi, Oscar Gallo, and Onofrio Martinelli in 1947. Their "manifesto" announced their opposition to any concept of abstract art. Late in the 1940s Martini's sculptures won some first prizes at the national level, and early in the 1950s they started to be exposed abroad. Quinto Martini's paintings turned into a mature revision of Ardengo Soffici's style, and experimentation of some of the 20th-century artistic currents including cubism and futurism. Quinto Martini paid particular attention to "Portraits" and to "the Rain" theme. The artist exercised portraiture since his first sculpture experiences, portraying relatives, friends, and peasants of his homeland. Many portraits were made in terracotta, plaster cast, bronze of his mother, Ardengo Soffici, his wife Maria Ferri, often shown at important exhibitions. "Portraits" of artists, scholars, intellectuals, were made by Quinto Martini from the end of the Second World War until his death, in a sort of continuous dialogue with them that lasted for decades and at times with repeated portraits across the years. In 1992, two years after the artist's death, 30 of these "Portraits" were exposed in an exhibition hosted at Palazzo Strozzi in Florence, to realize a project that the artist imagined in 1984. The disastrous inundation of Florence of 1966 intensified the inspiration of Quinto Martini for "the Rain" theme, expressed through drawings and bas-reliefs, but also through operas in bronze. The poets and intellectuals Mario Luzi, Renzo Federici, Tommaso Paloscia, Carlo Levi, many of whom were subjects of the "Portraits" themselves, wrote about these operas hosted again in Palazzo Strozzi in 1978. He was a professor of sculpture at the Accademia di Belle Arti in Florence from 1961 across the 1960s and 1970s. During the same years, the artist continued in his experimentation, developing the "Rain" theme and participating in exhibitions at