He moved to Florence, where he began his career as a restorer of ancient frescos. So he enrolled in the local Academy and approached the group of the Caffè Michelangelo, hence the experience of painting from life in and around Florence together with T.Signorini and V.Cabianca. His beginnings are in the genre of historical realism, inevitably influenced by the examples of B.Celentano and D.Morelli (Lorenzo de ‘Medici, in the conspiracy de’ Pazzi, save in the sacristy of the cathedral). Borrani had the peculiarity of interpreting both schools were born within the group macchiaiolo: that of Piagentina and that of Castiglioncello.
In fact, thanks to his friendship with S.Lega produced works such as The Red Shirts staplers, where iltema patriotic is treated from the point of view of everyday life. Then the crystalline light that floods the scene and cleaning perceptual evidence of a language exemplary Piagentina. Later he was a frequent guest of D.Martelli in Castiglioncello: here drew harsh language, intense color and inlays made of synthetic between the vertices of the experience macchiaiola.
Among the works sent to official exhibitions include: Il veglione al teatro della Pergola, Una guardia del cardinale Richelieu, L’arco dei fratini a Firenze, L’annegata, La mia cucina, Un passatempo innocente, Palazzo del Podestà a Firenze, La casaccia – motivo dal vero presso Firenze, Il medico, La mia terrazza, Fra gli allori, L’Arno – motivo dal vero, L’analfabeta, Il richiamo del contingente, Il nuovo Lungarno Serristori, Una preghiera distratta, Il torrente Mugnone, Presso la loggia, Per l’acqua – motivo dal vero, Ladri domestici, Il dispacciod el 9 gennaio.