Completed around 1888 and probably taken up again with the pointillist technique three years later, Penombre is placed in an intermediate phase between the early production of Previati, still linked to the late Romantic-Realist tradition, and the new course of his painting, which fatally adopts Divisionism as a instrument, poetic rather than technical. The composition is orchestrated on the close shot of two lovers, embraced as if they were a single body against the bright Argentine gray of the glass, which outlines their dark silhouettes in lunar gleams. The evocative effect of fusion of garments and anatomies in the darkness of the room is rendered by a filamentous and meandering brushstroke that outlines the volumes, lighting up with pure and brilliant shades on the shoulders and backs of lovers, on the hair and on the faces touched by the light of a dim light coming from the gothic window in the background. The two mouths join; while the eyes, closed, hide the pleasure. There is an almost religious quiet; the stillness of being that reaches a moment of satisfaction, The kiss stages the archetype of feeling, "spiritual love, the love of the souls who are looking for and wanting each other".