[1] After a short experience in Paris, where he met the most important artistic personalities of the time between 1920 and 1930, Pirandello entered the movement of Scuola Romana, distinguishing himself for originality and solitary exploration.

His painting tends towards a quotidian realism manifested at times in the more unpleasant and pitiless aspects of life, expressed through a dense and thorny pictorial matter.

[3] Pirandello's style goes from cubism, to tonalism, to realist-expressionist forms:[4] Important in this period was his participation to the activities of literary magazine "Corrente di Vita".

[5] Pirandello changed his style around the 1950s, re-absorbing influences from the cubists (i.e., Georges Braque and Pablo Picasso), and thus living the troubled and difficult phase affecting the whole Italian painting art, between "realism" and "neocubism", yet achieving through the deformations of an expressionist approach, original formal solutions in between abstraction and figuration[6] His paintwork sought a new definition, with a strong reference to a cubist syntax in the colour tassellations and in those compositions where the narrative datum gradually loses importance.

Among those after World War II, noticeable were his anthological exhibition at Ente Premi Roma in 1951, the persona of 1955 at the Catherine Viviano Gallery of New York City and the personal at "Nuova Pesa " of Rome in 1968.