After classical studies his interest turned to the Italian-Milanese culture. In 1924 he attended courses at Brera given by Cattaneo. Following the Futurist Congress of Milan, he began to embrace the ideas of Filippo Tommaso Marinetti, adhering to the "Futurism between the two world wars" and participated with the Futurists at the Venice Biennials (1930s-1940) and to the Quadriennali of Rome of 1935 and 1939. In 1931, he exhibited at the "Futurist Exhibition of Aeroittura and Scenografa" at the Galleria Pesaro in Milan. In 1932 he took part in the exhibition "Enrico Prampolini et les aeropeintres fuuristes italiens" organized by the Gallerie de la Renaissaance. In 1933 he participated at the Futurist exhibition in honor of Umberto Bocconi at the Galleria Pesaro and at the "Mostra Nazionale d'Arte Futurist Aeropittura artesacra pittua sculpture futriste" of the Bottega d'art of Livorno. At the same time, he exhibited in Paris at the "Expositon des Futuristes italiens" at Galere Bernheim-Jeune. All of the artworks exhibited however, were moved to the Neue Galerie in Vienna. In 1931 he signed with Munari, Manzoni, Duse, Gambini and Bot, a manifesto that supported the aeropainting. In 1934, he signed the "Manifesto of Futurist Wall Plastics." Andreoni developed a friendship and fellowship with Enrico Prampolini during the participation at the Milan Triennale. For the 1933's edition, Andreoni would collaborate on designing and decorating the civil airport station, which was built in the Sempione Park. In the 1936's edition he designed, in collaboration with A. Celesia, the Sala di Rappresentanza for the Municipality of Aprilia, and exhibited at the International Exhibition of Theater Scenotecnica. For the edition of the Triennale in 1940, he set up a Tourist Office. In March 1941, shortly before the departure for the front, one of his personal works to the Artistic Family is presented in the catalog and inaugurated by Marinetti, who closes his text declaring that Andreoni "deserves the title of a great futurist airplane." Furthermore, Andreoini was close to the abstractionists group, il Milione. The experience of the Russian campaign, from which he was marked also physically, imposes remedies and reflections on its expressiveness, well documented also by the volume Disegni di Russia which also presents its oils. From 1948 to his death, he continued to investigate new forms of expression by being attentive to the themes of movement and the problems of color.