Gualino was a central figure among a group of intellectuals influenced by Piero Gobetti who had vague but inclusive views about European culture.

In June 1922 Gualino moved back to Turin, where he became increasingly interest in modern ballet and decided to help diffuse this form of artistic expression in Italy.
In September 1922 his wife, Cesarina, organized a gym in the Castello di Cereseto and persuaded a group of Russian dancers to move to Turin, where they established a dance school and a theater, the nucleus for a revival of modern ballet.

Gualino was the first to introduce choreographic forms other than ballet to Italy.

In 1923 he invited Bella Hutter to dance in his private theater in Turin, and in 1925 invited Mary Wigman to dance in both his private theater and in his newly opened Teatro di Torino.

Gualino founded the Teatro di Torino in 1925, with a small group of artists and intellectuals.
It had a permanent orchestra, but did not stage its own productions.

Instead, it imported the best theater available internationally at the time, and gained a European reputation for the quality of its performances.

The first performance was of Gioachino Rossini's L'italiana in Algeri (The Italian Girl in Algiers).
Concerts staged in the first year included works from the 18th and 20th centuries influenced by Wagnerism and romantic melodrama, a major departure from typical musical performances in Turin.

The theater was informative rather than experimental, showing the range of work available internationally.

In this it was at odds with the nationalist views of the fascist regime, and was unsuccessful with the general public.

The theater was closed in 1931 when Gualino was forced into exile on the island of Lipari.

Gualino used his huge wealth to amass a large and valuable collection of art.

He met the art historian Lionello Venturi in 1918, who advised him to buy work by Amedeo Modigliani.

Gualino was the first Italian to buy work by Édouard Manet with La Négresse, a study for Olympia.

Gualino and Venturi supported local painters such as Felice Casorati and the Gruppo di Sei (Group of Six), which included Carlo Levi, Francesco Menzio, Jessie Boswell, Gigi Chessa, Enrico Paolucci and Nicola Galante.
These artists could view works by Modigliani, considered pornographic at the time, that Gualino "hung serenely amidst his Titians and Botticellis."
In 1930 Venturi organized a retrospective exhibition of Modigliani's work in Venice based on the paintings owned by Gualino.

Gualino saw the Rationalist work of the architect Giuseppe Pagano in an exhibition in 1928.

He commissioned Pagano to build his company's headquarters in Turin on Corso Vittorio Emanuele.

Pagano and Gino Levi-Montalcini built the Palazzo Gualino in 1928–29, with a flat roof rather than the sloped tile roof typical of other buildings in the city.

The building had seven identical low-stacked floors, and unorthodox but functionally rational horizontal windows, conveying a sense of efficiency rather than power.

In other ways the Rationalist design carefully combined modern and traditional features.

The Galleria Sabauda (Savoy Gallery) in Turin has a room dedicated to the Gualino collection, which includes Venus and Mars with Cupid and a Horse by Paolo Veronese and Landscape with a pushcart by Peter Paul Rubens.

The gallery also holds furniture, rugs, paintings, statues, ceramics, archaeological objects and jewelry from the collection.

Other works include Tobias and the Angel by Antonio del Pollaiolo and Three Archangels and Tobias by Filippino Lippi.
Gualino was a central figure among a group of intellectuals influenced by Piero Gobetti who had vague but inclusive views about European culture.
In June 1922 Gualino moved back to Turin, where he became increasingly interest in modern ballet and decided to help diffuse this form of artistic expression in Italy. In September 1922 his wife, Cesarina, organized a gym in the Castello di Cereseto and persuaded a group of Russian dancers to move to Turin, where they established a dance school and a theater, the nucleus for a revival of modern ballet.
Gualino was the first to introduce choreographic forms other than ballet to Italy.
In 1923 he invited Bella Hutter to dance in his private theater in Turin, and in 1925 invited Mary Wigman to dance in both his private theater and in his newly opened Teatro di Torino.
Gualino founded the Teatro di Torino in 1925, with a small group of artists and intellectuals. It had a permanent orchestra, but did not stage its own productions.
Instead, it imported the best theater available internationally at the time, and gained a European reputation for the quality of its performances.
The first performance was of Gioachino Rossini's L'italiana in Algeri (The Italian Girl in Algiers). Concerts staged in the first year included works from the 18th and 20th centuries influenced by Wagnerism and romantic melodrama, a major departure from typical musical performances in Turin.
The theater was informative rather than experimental, showing the range of work available internationally. 
In this it was at odds with the nationalist views of the fascist regime, and was unsuccessful with the general public.
The theater was closed in 1931 when Gualino was forced into exile on the island of Lipari.
Gualino used his huge wealth to amass a large and valuable collection of art.
He met the art historian Lionello Venturi in 1918, who advised him to buy work by Amedeo Modigliani.
Gualino was the first Italian to buy work by Édouard Manet with La Négresse, a study for Olympia.
Gualino and Venturi supported local painters such as Felice Casorati and the Gruppo di Sei (Group of Six), which included Carlo Levi, Francesco Menzio, Jessie Boswell, Gigi Chessa, Enrico Paolucci and Nicola Galante. These artists could view works by Modigliani, considered pornographic at the time, that Gualino "hung serenely amidst his Titians and Botticellis." In 1930 Venturi organized a retrospective exhibition of Modigliani's work in Venice based on the paintings owned by Gualino.
Gualino saw the Rationalist work of the architect Giuseppe Pagano in an exhibition in 1928. 
He commissioned Pagano to build his company's headquarters in Turin on Corso Vittorio Emanuele.
Pagano and Gino Levi-Montalcini built the Palazzo Gualino in 1928–29, with a flat roof rather than the sloped tile roof typical of other buildings in the city.
The building had seven identical low-stacked floors, and unorthodox but functionally rational horizontal windows, conveying a sense of efficiency rather than power.
In other ways the Rationalist design carefully combined modern and traditional features.
The Galleria Sabauda (Savoy Gallery) in Turin has a room dedicated to the Gualino collection, which includes Venus and Mars with Cupid and a Horse by Paolo Veronese and Landscape with a pushcart by Peter Paul Rubens.
The gallery also holds furniture, rugs, paintings, statues, ceramics, archaeological objects and jewelry from the collection.
Other works include Tobias and the Angel by Antonio del Pollaiolo and Three Archangels and Tobias by Filippino Lippi.
Riccardo Gualino