The essay, after a brief introduction to first post-war Trieste and a quick biographical overview of the artist and his family, reconstructs the initial phase of the artistic and professional activity of Anita Pittoni. This phase, due to the scarcity of sources, has long been wrapped in a rather vague narrative full of inaccuracies and news not supported by adequate documentation. Often also due to misleading statements, released many years later and subsequently published by the same Pittoni. Thanks to finding new documentation in public and private archives, it was therefore possible to identify with a good approximation the date of foundation of his Decorative Art Studio and also prove that, since 1924, she made handmade garments. The text continues with the analysis of the fundamental contribution given, in the first years of activity of the Studio, by his two friends Marion and Wanda Wulz and by the painter and graphic designer Marcello Claris. The first exhibitions in Trieste are then documented, in which Anita presents her creations and the first positive feedbacks from local critics. We continue with the more detailed analysis of his first major personal exhibition held in Rome in December 1929. Thanks to the discovery of the catalog of the exhibition and the subsequent comparison with an important collection of images of the time it was possible to identify and date with certainty a significant core of his creations of that period: from large-format decorative panels, to cushions to accessories. We then proceed with a formal evaluation of his most significant creations, in particular of the decorative tapestries, inserting them from a stylistic point of view in a national and international context. The important critical reactions following the exhibition are also documented, which determine a fundamental turning point in the career of the artist who in a few months is invited to the most prestigious national exhibitions in the sector. In conclusion of the essay, a review of his creations by Arturo Bragaglia published in Brescia in 1930 is presented, particularly interesting from the critical and historical artistic point of view.
