The sower, datable to 1895, the year of the painter's return from his first stay in France, is affected by the integrated influences of Millet and the School of Barbizon, Italian Impressionism and Divisionism. The central foreground is occupied by the figure of a farmer, balanced by the silhouette of a country girl walking in the background with a spade in her hand and a load on her shoulders, both set in the structural and chromatic grid of the landscape of which they become inseparable elements. The gesture of the man, full-length from behind, with his body in torsion and his right arm stretched behind his back in the act of throwing seeds into a thaw field, infuses dynamism into the whole picture, intercepting the rhythm of the strips of land already clear of snow that lead the gaze towards the houses of Prestinone, beyond which you can see the vegetation, the mountains, the sky. The dazzling brightness is supported by the pieces of a snow cover obtained by overlapping white, blue and yellow filaments, where the long celestial shadows are placed which, in a skilful play of complementaries, illuminate the golden ground dotted with ocher, brown, green.