Already Andriolli’s first published work was received favourably by critics who noticed his talent. Art was his passion. He began in his hometown of Vilnius, which he sometimes emphasised later, signing works published in Paris as Andriolli of Vilnius.

After returning from exile in Vyatka, the place he chose to live was Warsaw, where he set up an atelier, which he visited even when he became the landowner of Stasinów and later Brzegi.

In Warsaw, he became known as a talented illustrator of such popular magazines as “Kłosy”, for which he prepared his first illustrations Musician’s Dream (1872) and Nicolaus Copernicus (1873). Other popular magazines for which Andriolli was created were “Tygodnik Ilustrowany”, “Tygodnik Powszechny”, “Biesiada Literacka” and “Wieniec”.

Andriolli had also “temperament and passion for tourism” and made numerous travels around the territory of former Poland. He created his works “on the road” and sent sketches to magazines that brought readers closer to the monuments and places of interest. Many of objects pictured by him no longer exist. His works are therefore not only of artistic significance, but also of documentary value. His illustrations also depicted everyday life, joy, pain and despair, as well as historical events.

Very soon Andriolli’s talent was also noticed by major publishers such as Gebethner and Wolf, Orgelbrand, Lewental or Altenberg. Their commissions made Andriolli the most important illustrator of canonical Polish literary works, such as Maria by Malczewski, Meier Ezofowicz by Orzeszkowa, Pamiętniki kwestarza by Chodźko, Stara Baśń by Kraszewski, Pan Tadeusz by Mickiewicz, Balladyna by Słowacki, Konrad Wallenrod and Dziady by Mickiewicz.

From 1880 Andriolli became a holiday guest of Nałęczów, where he had many friends and acquaintances and socialised. From here he also visited the nearby estate of Ożarów, where his drawings focused on Arabian horses from the stud of Count Wincenty Łoś, a man of great culture, art aficionado, collector and admirer of Andriolli’s works.

Despite enormous diligence, it became impossible to complete all commissions. Andriolli had to make choices. From 1881 he began to withdraw from working for illustrated magazines, working on special edition series. However, from 1887 until his death, he devoted all his efforts to the creating large, often even immense templates. Although he still found some free time to illustrate Branki w Jasyrze by Jadwiga Łuszczewska (pen name Deotyma <Diotima>), draw a dozen or so drawings or notes and views of the countryside he visited, these works were only occasional.

Apart from the most important Polish works, Andriolli also illustrated lesser-known pieces. He was also a painter, decorating mainly churches.

Andriolli’s illustrations, often as large templates, were subsequently prepared for printing by woodcutters. Depending on their skills, they were more or less faithfully represented. Often, the artist’s original works were displayed to the public in his studio, or by publishers, booksellers or galleries. In April 1889 the following drawings were displayed in his studio: Alf and Halban in the port of Klaipeda, Wallenrod’s Death, Feast, Confession of Priest Robak and Adam Mickiewicz’s Portrait.