Painter, sculptor, skilled and tireless draftsman, Giorgio Kienerk had already reached a certain stylistic maturity by the end of the 1880s, while at the same time assimilating the modeling, the line, the interpretation of reality, the eye, the cut, the bright vibration. Perhaps he is the real link for which from the Macchia which has become increasingly bland and luminous, one passes to the Impression. Dated 1892, executed during the second working stay in Liguria, the canvas San Martino ad Albaro by Kienerk simplifies the nomellinian choices of the contemporary and analogous Ulivi ad Albaro, marking the structure of the work through a foreground dense with vegetation, richly varied in the colors affixed to short taches, which partly reveals the buildings dazzled by the morning sun in the background. The delicate play of complementaries, supported by the soft lilac of the shadows that meets the yellow of the buildings in full sun to overturn in a sky vibrant with light and heat, continues the path of the experiments undertaken the previous year in the same places.