From Romanticism to Divisionism: the collection of textile industrialist Guido Rossi.

This relined painting is well-preserved despite small amounts of paint having flaked off in places. The work retains its period frame. It is related to other Lombard "vedute" (landscapes) with a similar style and structure such as Lake Iseo, the Lombard Plain, Marina, and the Cambrena Glacier, all painted during the same period.

This work is one of the most significant achievements of Carcano's career as a landscape painter due to its wide reach, sound perspective and sophisticated technique. The canvas is left visible in places, with its white preparation recreating the play of light on the snow-capped peaks of the distant mountains.

This work, which is well-preserved, was painted on a deep pink background. This accentuates the cold light of the canvas, rebalancing the almost acid tones of the palette. The painting is a testament to the level reached by Fornara's art during his years of adhering closely to Divisionism. It is also notable for its consistent and precise application of the Divisionist technique, resulting in intense brightness and meticulous spatial articulation.

The influence of Segantini is clear in the cold light and a technique whereby the painting's apparent naturalism is hardened through the abstraction of its strokes.

This scene's melancholy tone lays bare a period of personal concern for the painter. His partner, Virginia Batelli, was ill with tuberculosis and would die the following year, while his sister Maria Delfina had passed away in 1867. The two protagonists with carefully hidden faces have been identified as Isolina Cecchini and Giuseppe Sacchetti. Lega attended their wedding on January 15, 1870.

Lega reproduced the left section of the composition, featuring the two fiancés, in a panel painted shortly after, adding a few modifications, especially to the landscape. It is now in a private collection.

Dated 1873, "La Nidiata" (The Brood) is one of the best examples of Michetti's painting from the early '70s, where the influence of Palizzi's realism filters into scenes that hover between idyll and folklore, mainly set in the Abruzzo countryside.

In terms of technique, the work is similar to "La Raccolta delle Zucche" (The Pumpkin Harvest) exhibited at the Salon of 1872; its frayed, blurred brushstrokes and brilliant color contrasts reveal the influence of Mariano Fortuny’s work.

This superb painting is extremely luminous, with careful attention to the way in which different materials react to light. This leads to moments of virtuosity, such as the reflections on the surface of the pond. For this reason, it was a hit at exhibitions: in 1930, it was sent to the 19th-century exhibition held in Rome by the Società Amatori e Cultori, while in 1949 it was shown at the 19th-century Italian painting exhibition in New York.

Palizzi reworks previous compositions in this painting. While the donkey is found in various works, the group in the center with the shepherdess leading her calf is faithfully reproduced from the 1859 "Vitellino Condotto a Bere" (Calf Led to Water) (Rome, National Gallery of Modern Art).

This painting shows the level of Pellizza's studies in the years leading up to his conversion to Divisionism, with which he came into contact at the Triennale of 1891 where he submitted "Il Mediatore" (The Mediator). In particular, it reveals the influence of Cesare Tallone, his teacher at the Accademia Carrara in Bergamo, in its coarsely realist inspiration and loose brushstrokes. Nevertheless, Pellizza's work displays greater solidity than his master's and also employs a more severe color palette characterized by the dull tones of the surfaces, from the brown of the suit to the white of the plastered wall, enlivened by a dash of color in the man's tie.

At the same time, the simplicity of the man's position, seated with his hands on his knees, is accentuated by the composition's robust structure, which places the figure solidly in the space, accentuating its volume.

A fundamental painting in Pellizza da Volpedo's body of work and one of the most important in Guido Rossi's collection, "La Processione" (The Procession) drew the attention of critics at the Venice Biennale. Neera saw it as striking the perfect balance between the study of reality and idealized thought, an equilibrium that underpins Pellizza's work. Writing in the Corriere della Sera, Gustavo Macchi focused on the painting's intense lighting effects, while Vittorio Pica also emphasized Pellizza's poetic and mystical tone, perfectly aligned with international Symbolism.

Despite being a life study set in a street in Volpedo's hometown, the painting shows the ideals of spirituality and harmony between man and nature. This is achieved through the study of light with the application of the rich and meticulous Divisionist technique.

This painting was seemingly done with rapid brushstrokes, so much so that it was exhibited as a sketch in Florence. In reality, careful attention is paid to the effects of light and reflection. The bird's plumage is characterized by blue tones which frame the cold brilliance of the white feathers, heightened by touches of divided color.

The brushstrokes are softer in places (as in the feathers) and richer and more textured in others (the tied feet). The wall, meanwhile, is rendered rapidly and concisely, with the whites depicting the plastering and streaks of a limewashed wall.