Back then in his mountains, in Trentino, Depero found again contact with reality, with concreteness, with the values of the country and family. His return to painting, to art, was anyway affected by this emotional state, and also by the fall of his creative impulse probably due to the fact that he had “verified” that future so longed for. Now, there was nothing left to imagine, and nothing to dream about. His innate cheerfulness seemed somehow cooled down: and his palette, inevitably changed. While he was trying his fortune in America his name appeared among the subscribers of the manifesto Futurist Aeropainting: he was included ,”ex officio”by the same Marinetti. Until then Depero together with Prampolini, had been the spearhead of the futurist movement, his American triumphs, often relaunched by the national press, had made him very popular and not only among the futurists. For this reason, after his return, he exhibited in 1931 with the futurist group at the first Quadriennale Nazionale d’Arte in Rome, where Marinetti presented him with a certain emphasis, precisely as the “triumph of Futurism in America”.