After studying with Duilio Cambellotti at the Academy of Fine Arts in Rome, he became a leading member of the Futurist Movement as a painter, scenographer, and architect. He had close contact with the representatives of the European avant-garde art, the Section d'Or, Dadaism, the Bauhaus, De Stijl, and the Abstraction-Création group. Furthermore, he was close with the artists Pablo Picasso, Piet Mondrian, Wassily Kandinsky, and Jean Cocteau. From 1913 he collaborates with the monthly magazine Varietas in Milan. In 1917 he founded the magazine Noi with Bino Sanminiatelli. That same year, he realized the sets for the futurist film Thaïs, directed by Anton Giulio Bragaglia. He created the interior of a dream and suffocating villa, whose walls are decorated with spirals, lozenges, chessboards, and symbolic figures. This film had a significant influence on the anti-naturalistic scenes of German Expressionism. Prampolini occupies a place of its own in the European abstract art, characterized by its deep concern for the Dynamism and Organicism, which manifests itself in the cosmic visions and dreams of the 1930s and 1940s. In 1927 he founded the "Futurist Theatre Prampolini." In 1928 he conceived the Futurist Pavilion at the "Esposizione del Valentino" in Turin, which will be realized by Fillìa and Pino Curtone. Together with Fillia, he realized in 1933 a large mosaic Le comunicazioni for the tower of the Palazzo delle Poste in La Spezia. After the futurist experience, he produced different materials and works, which were sometimes influenced by the visions of the microcosm. He declared that his aim was to express the extreme latitudes of the introspective world.