In a private collection there is a smaller canvas of the same subject where Olivero has noted the site of the view, Ussolo. The date 1905 on the lower left emerged on the occasion of the scientific filing of the collection. Previously, the extraordinary mastery of the Divisionist language that Olivero demonstrates here, had led scholars to postdate the painting for a few years, especially since it was exhibited for the first time only in 1910, at the Paris solo show.

Of obvious public destination for its exceptional size, the canvas is an exploit of skill of the young painter in the midst of his enthusiasm for divided painting. Long meditated - there are at least six partial or total editions of different sizes - he marries the naturalistic realism, which Olivero had been trained to, with Divisionism. The robust perspective structure and the refinement of pictorial writing combine to create in a masterly way the sensation of atmospheric purity and boundless space of the high mountains, not without a symbolic response between the earth of men and the brightness of the sky reminiscent of Segantini.