The bibliography of Bepi Fabiano focuses on his figure as a versatile artist, active between the end of the nineteenth century and the first half of the twentieth century. Born in Trani in 1883, Fabiano developed his artistic career between various Italian and European cities, including Venice, Milan, Paris, Rome and Treviso, the latter city to which he remained particularly attached due to his friendships and personal affection.

Fabiano began his career in Venice, where he received his first artistic education, influenced by the painter Guglielmo Ciardi. He then moved to Milan, where he came into contact with Ugo Valeri and Leonetto Cappiello, important figures for his artistic growth. Valeri was known for his anti-academic and rebellious activity, while Cappiello was an innovator in advertising graphics. These influences pushed him to develop a personal stylistic figure, characterized by the combination of drawing, graphics, caricatures and portraits.

In 1911, Fabiano went to Paris, where he became involved with the international art scene, while maintaining a scholarly approach. He admired Jules Chéret for introducing advertising chromolithography, but did not try to emulate Toulouse-Lautrec's style, preferring instead the subtlety of Cappiello. In Paris he worked actively until the outbreak of the First World War, when he returned to Treviso.

In the following years, Fabiano lived in Rome (1920-1926), where he achieved a certain notoriety and devoted himself mainly to portraits made with the pastel technique. This phase marked a turning point in his career, since pastel allowed him to express a delicacy and fluidity close to the refined taste of eighteenth-century Venice. He then returned to Treviso, where he continued to produce works of various kinds, including lithographs, drawings and oils, and became friends with Giovanni Comisso. Among his most significant paintings of this period are "La convalescente" and "Il montanaretto" from 1931, characterized by a sober palette and gray tones that accentuate the psychological introspection of the subjects.

In 1936, Fabiano moved to Padua, marking the beginning of a phase of decline. He was unable to integrate into the new environment and became increasingly solitary and reserved. This phase culminated in the withdrawal of his works from an exhibition to which he had been invited in 1943, marking his distance from the artistic world. Fabiano lived the last years of his life in isolation, far from the spotlight that had once sought him, until his death in 1962.