The desire to imitate his father's "profession" will be some kind of almost forced destiny for Antonio Pirari, a painter like his father Giovanni Antonio PirariVarriani. It could not be otherwise for himwho, together with his brother Piero (future photographer), will grow inside a domestic context which was already suitable for studying and cultivating arts as a daily practice, directly associating themwith the most well-read and enlightened personalities in Nuoro between the 19th and the 20th century. Attracted to the example of great painters who have been hosted at his native abode – Antonio Ballero and Giacinto Satta in the first place–, Pirari will develop over the years, thanks to his academic education too, a personal style far from his father's mark (still so nineteenth-century and amateur), anyway, something personal compared to the well-known pioneers of the Sardinian representation. This can be observed in the similarity with the regionalist theme, always there and stated according to a social point of view. "Il giornalino della Domenica" dated October, 16th, 1921shows his paintingContadino di Nuorosull'aiaon the cover; his poster created for the Sagra del Redentore dated August 1919will bequite famous; his tempera paint on paper La fabbrica (1934) is part of the permanent collection of Sardinian art displayed at MAN Museum in Nuoro.