Plaster is the original model from which Canova drew the marble for Giuseppe Giacomo Albrizzi (Berlin, Nationalgalerie) and the one purchased in 1802 by Josephine de Beauharnais (St. Petersburg, Ermitage). Daughter of Zeus and Hera, in Greek mythology Ebe was a divinity of youth and cup-holder of the gods. Canova represents her as a half-naked girl with still immature shapes, while she glides on a cloud of Olympus mixing nectar and ambrosia, with a forward movement that makes the fabric adhere to the body, curling it in jagged outlines on the back.

Framed in the rich setting of the dining room of the Villa Reale, the Appiani fresco is a true aesthetic manifesto of European neoclassicism and the last completed work of its author. Appiani resumed, innovating, the theme of Apollo surrounded by the muses on Mount Parnassus, already treated by Raphael and, most recently, by Anton Raphael Mengs.

The first reason for the charm of this work is the portrayed character, the famous opera singer Matilde Juva Branca, who animated her father's musical parlor together with her sisters. Its qualities of psychological introspection and formal definition contribute to the fame of Hayez's painting. Despite this, the fortune of the painting is relatively recent.

Never exhibited by the author in life and never mentioned in the letters, the painting was read as a reference to the painter's personal life. It is today a recognized masterpiece and certainly his most famous painting, admired for the strength of the still life of books in the background and defined as a pride of the realist movement.

A leading figure for Italian art of the second half of the nineteenth century, Vittore Grubicy de Dragon was an artist, patron and collector. Eight canvases make up the great "pantheist poem" or "winter poem", evidence of the research conducted by a pointillist painter on atmospheric effects in landscape painting. The works are arranged according to the layout prescribed by the artist at the time of their donation to the Municipality of Milan.

Unlike many of Boldini's female portraits, in which the whole figure is functional to show all the details of the clothes in the portraits, in this painting the figure is limited to the bust: from it the oval face of a girl emerges with particular force, while the background and the dress fall apart in a paint so transparent that the underlying layers emerge.

Tranquillo Cremona, one of the artists who dominated the pictorial sphere of the Scapigliatura movement, strips the work of narrative value, focusing on the sentimental and psychological theme of the love relationship obtained from the compositional cut that focuses attention on the play of glances between the two lovers.

A masterpiece of Divisionism, this painting still shows a close link with solid Lombard realism, albeit translated into the new divided technique. The universal theme of motherhood is here embodied in a double aspect, human and animal; with the addition of the recent interior motif illuminated by artificial light.

Exhibited in the room dedicated to social painting, this canvas testifies to Morbelli's attention to subjects drawn from contemporaneity: a train snorts in under the great iron and glass arch of the Milan station, the one built by Bouchot in 1864 in the current square of the Republic and now disappeared. Someone is waiting, others are preparing to leave: a city street section that recalls contemporary Impressionist painting.

This painting testifies to the continuous and constant experimentation of the divided technique for Gaetano Previati. In fact, the artist seeks tones linked to a symbolic-ideal celebration of motherhood. We find the mother portrayed in a field of lilies - a very traditional symbol of purity - her head surrounded by the soft light of a halo. The long and thin brushstrokes create geometric contrasts between the slender verticality of the flowers and the horizontal lines that define the Madonna's robe and legs. The background is a dust of minute, evanescent touches.

Ecce puer is the last original work modeled by Rosso: it is the commission by the wealthy industrialist Emile Mond of his son Alfred. Rosso created the work in a feverish night of work after the child suddenly appeared to him from behind a curtain. The plaster of the GAM is the original model of the work.