Coming from the Genoese collection of Giuseppe Bertollo's heirs auctioned at the Scopinich Gallery in Milan in May 1928 and included in the volume relating to the collection of Luigi Frugone drawn up by Enrico Somarè in 1936, the painting, signed and dated 1874, faces a pleasant female subject in neo-eighteenth-century terms, according to modalities and suggestions offered to the artist perhaps by his stay in Paris in 1866, during which he had the opportunity to get to know the work of two virtuosos of the brush, Mariano Fortuny and Jean-Louis Meissonier. In The Painter, the intensity of the light that illuminates the scene serves to bring out the almost miniaturistic preciousness of the details, resolved in enameled colors with an approach that recalls the style of the painter Giuseppe Bertini, Bianchi's master. There is probably a contemporary but more sketchy version of this painting, belonging to a private collection, in which the features of Carolina Marignani, wife of the artist, have been recognized; instead, a watercolor refers to 1872, already in a Milanese private collection, considered a first idea for this canvas. The museum preserves two other paintings on wood by Mosè Bianchi, belonging to the legate of Lazzaro G.B. Frugone: Barca a Chioggia and Vecchia Milano, both dating back to the mid-1980s.