Influenced by Constructivist theories (and politically aligned with Communism), Veronesi used the cyanotype photogram after 1932 as a means of revealing metaphysical qualities in objects.
[2] On 4 March 1935, he participated to the first collective exhibition of abstract art of Italy in the atelier of the painters Felice Casorati and Enrico Paolucci in Turin[2] together with the artists Oreste Bogliardi, Cristoforo De Amicis, Ezio D'Errico, Lucio Fontana, Virginio Ghiringhelli, Osvaldo Licini, Fausto Melotti, Mauro Reggiani and Atanasio Soldati, who signed the Manifest of the first collective exhibition of Italian abstract art.
In that year he also participated to an exhibition of abstract art in the city of Como (Italy) with the artists Lucio Fontana, Virginio Ghiringhelli, Osvaldo Licini, Alberto Magnelli, Fausto Melotti, Enrico Prampolini, Mario Radice, Mauro Reggiani, Manlio Rho and Atanasio Soldati.
The shapes became the matrix for an abstract painting to which he applied colour and added drawn geometric lines to enhance the dynamics, exhibiting them in a solo show at the Galerie L’Équipe in Paris in 1938–1939.
From 1963 to 1979, Veronesi taught graphic arts at the graduate course of industrial design in Venice and later was professor of colour science at the Brera Academy (Milan).