A nineteenth-century master of color and of a distinctive mark, Mosè Bianchi fell into unjustified oblivion in the twentieth century. Today, however, his ability to translate the modern flow of reality into passionate panoramas or similar scenes is widely recognized. With origins in Monza, he never renounced his own land; indeed, in the course of his many experiences, he also became a city councillor in Milan. But he made numerous trips to Venice, where he was able to assimilate with critical intelligence the lessons of the great lagoon painters of the eighteenth-century; from them, a little like Boldini, he borrowed the jagged and jittery trait that, unlike the Ferrarese artist, is always composed in a peaceful context, passing from romanticism to realism, to pre-impressionism. The work that we admire here shows sensitivity and delicacy in its tones, and in the portrait of a young, still adolescent girl. In its quiet sadness we see the ancient wisdom of the Lombard authors. They have often been able to capture in everyday life that stretch of intense introspection that, despite the confines of a humble life, shows a spark of genius and a hope of life.