Umberto Boccioni meets Gino Severini and begins to frequent Giacomo Balla's studio with him. every season. In January in Padua, a work in which Balla's lesson has already been boldly reworked in a personal key, the chromatic fabric is structured in impasto areas enlivened by overlapping of sparse and coarse notches of pure and anti-naturalistic hues, which give the whole a expressionist. Organized on the diagonals of the dizzying perspectives that break on a backdrop of bare rows and a single farmhouse, silhouetted against the freezing rainy sky, January in Padua returns a dynamic and articulated panorama, albeit totally uninhabited, in which the gaze has no rest , continually urged to wander among frozen cobalt stems and branches to get lost in the vastness of the ocher field teeming with blue and azure. The divided brushstroke, reiterated, fast and lively, is multiform and changeable, as Pellizza preached, regularized in minute dashes in the single, distant construction, where the play of complements becomes more audacious.