At the beginning of the new century, Pellizza stated that he intended to devote himself almost exclusively to landscape painting. His studies of the great British landscape artists, from Turner to Constable, and his ponderings on Fontanesi’s landscape paintings induced him to develop on a theme that had always played a crucial role in his research: the theme of light. Pure landscape thus became one of the favourite themes we now encounter from Pellizza’s last period: he reinterpreted natured studied from life, with its atmosphere, its light and its colours, using a technique he described as “Impressionistic”, with which he sought to create an immediate suggestion of the subtle chromatic and emotional vibrations of the countryside around Volpedo. This research is illustrated by the two masterpieces on show here, Farm at la Clementina and A Small Valley in Volpedo: Pellizza studied and carefully calibrated every element in the scenes, playing with the relationships of symmetries and asymmetries, with the main lines of force, which are sometimes linear and sometimes circular, guiding the observer’s eye deep into the scene, with the relationships between the solids and the voids that give pause to our vision and with the accords of colour and of luminous values that confer unity on the entire composition. When observed from life, then, landscape also became at the same time and above all a psychological place, a nature that had been transfigured and reinterpreted by the painting: not just a place that had been visited and reproduced, but a universal image of nature and of the regenerative potential of light.