With Manfredi Nicoletti (1891 Maiori – Cetara 1978), we consider those modernist winds that gets involved even the Amalfi Coast between ’10-’20 of last century: it’s the certificate of a new “vertical” landscape image inspired in same years by foreign artists as Maurits Cornelis Escher, essential to understand the decomposition of chromatic cézanianna zoning, which instills a restless swarm to paintings such as Processione a Maiori (1927) and Festa a Maiori (half of ’30). Nicoletti’s research is based also on Neapolitan declinations of “Novecento” (through his friendship with Luigi Crisconio), as is clear in the painting Limoni (notturno), 1939.