File:Artgate Fondazione Cariplo - Bianchi Mosè, Interno rustico.jpg

This small painting appeared for the first time in 1924 at the Mosè Bianchi commemorative exhibition in Villa Reale, Monza, and is listed in the catalogue as the property of Commendatore Aldo Annoni from Monza. This collector, who should not be confused with the Annoni who was President of the Cassa di Risparmio delle Provincie Lombarde from 1881 to 1900, was a top-ranking executive in the credit and insurance sector at the time who held, among others, the position of managing director with the insurance company Atlante. In 1924 he was one of the main promoters of the Monza exhibition and sat on the Organizing Committee with other members of the Milanese bourgeoisie, such as Luigi Mangiagalli, and intellectuals like Raffaello Giolli.

In 1930, Annoni sent Bianchi’s painting to Rome for the ‘Mostra dell’Ottocento’ organised for the centenary of the Società Amatori e Cultori di Belle Arti. In the room created by the critic Enrico Somarè the work was displayed next to other canvases by the painter, including Farmstead (Milan, Galleria d’Arte Moderna), set in the Brianza countryside, and The Return from the Festival (Milan, Galleria d’Arte Moderna), a replica of the work with the same title in the Cariplo Collection.

In this Interior a young peasant woman, seen from behind, is busy doing her domestic chores while a bevy of ducks scratch around inside the small rustic dwelling barely illuminated by the light coming in through the entrance. Beyond the threshold we catch a glimpse of a hilly landscape, sketched with short brushstrokes, which may be typical of Brianza or of the Alps near Gignese where the painter spent long periods as from 1890. Peasant life in the Verbano area provides the inspiration for other works by Bianchi, for example Interior of a Farmhouse at Gignese (whereabouts now unknown, formerly in the Ulrico Hoepli Collection), which won the Principe Umberto Prize in 1900.

Scenes of peasant life in rural settings, often characterised by the skilful play of chiaroscuro, were frequently executed by artists who adhered to Lombard Naturalism, evincing their attentive gaze focused on the lively aspects of everyday life.