In 1925, binds to Antonietta Raphael recently arrived from Paris, with whom he had three daughters, Miriam (1926), Simona (1928) and Julia (1930).
In 1927 Antoinette Mafai and go to live in the house-studio in Via Cavour, also frequented by Scipione and Mazzacurati. In the same year Mafai
begins in the "Exhibition of sketches and studies" organized by the National Artistic Margutta.

In 1928 he exhibited at the Exhibition of XCIV Amateurs and Connoisseurs of Fine Arts
During this period he attended along with Scipio Mafai the Library of the History of Art at the Palazzo Venezia, becoming friends with Ungaretti, de
Free, Sinisgalli, Beccaria, Falqui.
In 1929 he exhibited at the "Conference" of young artists at the Palazzo Doria. Where the review of trade unionists in Lazio, the trio was coined Mafai - Scipione - the lucky definition Raphael's "School of Via Cavour.
In the early part of 1930 with his wife to Paris, but in November he was back in Rome with Scipione. transition, the
dark bodies that are derived from suggestions museum to give a renewed interest in the light. In 1931 he exhibited at the Rome Quadrennial,
who will introduce his work to that of other members of the Roman School, in a traveling exhibition in the United States (1931-32) begins to
XVIII Biennale di Venezia (1932).
The years 1933-34 he has been engaged in intensive work, which will produce some of his major works, women who relax in the sun (1933),
Nude at rest (1933, Rome, Galleria Nazionale d'Arte Moderna), The Piano (1934) and the series of Flowers. In 1935 the Second Quadrennial welcomes
its staff by 29 paintings, which states its position and earns him a prize of 25,000 lire. That same year he opened in San Francisco
"Exhibition of Contemporary Italian Painting," traveling exhibition organized by Sabatello, which represents the latest turn in the tonal sense
Roman painting. The success was confirmed by staff at the Gallery of the Comet (1937), which appear between the other of his famous Demolition,
refined coloristic meditations that draw inspiration from the demolition taking place in the historic center. In the twenty-first Venice Biennale (1938) has a room
with Ziveri. In 1939 he moved with his family in Genoa, to subtract Antoinette racial discrimination, are close to the collectors and
Jesi and friends of the Region, meets Manzù, Guttridge, Birolli, ties of friendship with Sbarbaro. At the second exhibition in Milan of "Current" at the Gallery
Grande (1939) presents the first Fantasias, a tangle of conflicting or grotesque masked nudes, where the most number of references (Goya, Géricault, Grosz) is
crowd in a frenzied atmosphere of terror that war promises. Supports the youth group of Romans and writes dell'antimpressionismo
Mafai, exhibiting landscapes and portraits, recalling the names of Utrillo, Derain, Vlaminck. Soon

In 1940 he held a major solo show at Gallery Barbaroux of Milan, Bergamo, he was awarded with models in the study (1940, Milan,
Pinacoteca di Brera). In 1941, a staff in Genoa with Marino Marini. In 1943 he returned to Rome in '44 and is among the leading exhibitors at the
exhibition "Art against barbarism" sponsored by "The Unit" at the Galleria in Rome, where he presented the Fantasie.
Adheres to P.C.I. and in '48, in a letter to "Rebirth", agrees with others, against the formalism for an art without content. In the same year
XXIV Biennale of Venice hosts an important staff, which includes works from 1938 to '47. Since then a succession of exhibitions and awards
(Remember that the Seventh Quadrennial '55). The Biennale '58 welcomes 15 paintings on the theme of the Market, dropping references to close
reality in the prevalence of pure chromatic textures. The results of this research further non-figurative are exposed in a series of exhibitions at The Gallery
Turtle Rome (1959), the Galleria Blu in Milan and Turin Compass (1960), at the VI Bienal de São Paulo (1961).
And 'the last period: the refined chromaticism of unnecessary Remember (1958), Rising (1959), what remains (1960) concludes with the remains and
Dramatic Strings of 1960-63. In an initial review of Italian art between the wars Mafai has a prominent place in the historical exhibition on the school
Roman curated by Castelfranco and the Quadrennial Durbar of '59. He held his last solo show at The Attic Gallery in Rome in 1964, in a note
catalog the artist emphasizes the internal coherence of his work, which, in a span of over forty years, led him to decide not to forward to innovative
New or hasty adjustments, but to explore, beyond being the possible.