At the end of the war he moved to Paris where he worked as foreign correspondent for the Milanese daily newspaper Corriere della Sera.

The importance given to order and tradition, the atmosphere of serenity and eternity were in line with the post-war reconstruction and the programme of the “Twentieth Century” artists with whom Campigli frequently exhibited both in Milan from 1926–29 and abroad from 1927–31.

He then broke away from the compact severity of his previous works in favour of a plane with subdued tones and schematic forms rich in archaisms.

[2] During a journey in Romania with his first wife Magdalena Rădulescu, he started a new cycle of works portraying women employed in domestic tasks and agricultural labour.

In the same year he signed Mario Sironi's Mural Art Manifesto and painted a fresco of mothers, country-women, working women, for the V Milan Triennial which unfortunately was later destroyed.

In the following ten years other works were commissioned: I costruttori ("The builders") for the Geneva League of Nations in 1937; Non uccidere ("Do not kill") for the Milan Courts of Justice in 1938, an enormous 300 square metre fresco for the entrance hall, designed by Gio Ponti, of the Liviano, Padua which he painted during 1939–40.