Painting
Russolo, after joining his family in Milan in 1901, chose to pursue painting.
In 1909 he showed a group of etchings at the Famiglia Artistica in Milan, where he met Boccioni and Carrà. His Divisionist period works were influenced by Previati and particularly by Boccioni in style and subject matter. The following year, after his encounter with Marinetti, Russolo signed both the Manifesto of Futurist Painters and the Technical Manifesto of Futurist Painting. Afterwards, he participated in all Futurist soirées and exhibitions. His mature Futurist canvases, while open to Cubist influence, drew primarily on the examples of Anton Giulio Bragaglia's photo-dynamism and Etienne-Jules Marey's chrono-photography.
Painting
Almost immediately on joining the Futurists, he began his experiments into dynamism and was one of the first Futurist painters to employ the repetition of form to convey movement on his canvas - as in, for example, Revolt (1911), Dynamism of an Automobile (1912-13) and Dynamism of a Train (1913). Russolo attempted to demonstrate dynamism through motion and the use of repetition in paintings to suggest motion as a series of movements "frozen" on the retina. He exhibited his canvases with the Futurists until 1913.
Painting
In 1931 he moved to Tarragona in Spain, where he studied occult philosophy and then in 1933 returned to Italy, settling in Cerro di Laveno on Lake Maggiore. Russolo published his philosophical investigations Al di là della materia (Beyond Matter) in 1938. In 1941-42, he took up painting again in a realist style that he called "classic-modern". Russolo died at Cerro di Lavenio in 1947.