Guido Cacciapuoti was born in 1892 into a family of Neapolitan ceramists who had been producing majolica for generations. At the beginning of the 20th century, he and his brother Mario choose to move to Treviso, starting work at the Gregorj manufactory.
In the two sides of their business, as independent artists and modellers for various manufacturers, the two brothers contributed to diversifying the Treviso ceramics scene at the beginning of the 20th century. In Treviso, Guido turns out to be a friend of Arturo Martini and as well as one of the collaborators of the Treviso-based manufacturer “Lazzar & Marcon”, founded by Enrico Lazzar to produce artistic ceramics in a floral style.
In this collaboration, Guido distinguished himself as a highly talented modeller for his animal sculptures. He was responsible for creating several models that were very successful in southern Italy, consisting of groups of animals and children.
However, of more interest is his personal production, executed as a one off, and then riproduced in small series, which makes Guido one of the most original Italian animal sculptors. 
In 1908, the artist participated in various local exhibitions, exhibiting two small terracottas pieces at the II Mostra Trevigiana.
Despite his remarkable skill in working with ceramics, Guido experimented with various sculptural techniques: plaster, bronze, mixtures such as stoneware, terracotta and earthenware covered with transparent varnishes or enamel pigments.
In the 1920s, his small workshop in Treviso became a meeting place for other sculptors who worked with clay and plaster, such as Martini.
Some of his works were purchased by important figures, such as the King of Italy Vittorio Emanuele III, Mussolini, General Achille Starace and Prince George of England.
After the war, Cacciapuoti moved to Milan, where in 1927, after years of hard work, he founded the "Gres d'Arte Cacciapuoti Bignami & C" factory with his brother and Angelo Bignami, where the artist simplified and mass-produced the models of the so-called ‘Trevigiano period’.
In 1930, however, due to the premature death of his brother, Guido remained the sole owner of the company, which immediately enjoyed great success for its realistic animal sculptures, increasingly characterised by a clear definition of volumes. While simplifying the forms more and more clearly, Cacciapuoti gave his works unique expressive and plastic qualities.
The artist died in Milan in 1953, thus bringing an end to the Cacciapuoti factory.