It is impossible to summarize Mosè’s countless participations in international exhibitions and presentations in a few lines; however, it should be remembered that already in the early 1870s he had achieved several successes with paintings that would immediately enter the iconographic imagination of his time. In 1871 he was elected director of the Brera Academy and in 1874 he won the prestigious Principe Umberto Prize. During the same period, he begins to face the lively, but fruitful, “Neo-seventeenth-century” pictorial genre that was a great success with the general public. Even his brilliant “fresco” painting, with Venetian concepts, brought him important private and public commissions including, in 1883, the decoration of the railway station Royal Room in the town of Monza. He has an equally great reputation as a portrait artist, which however Bianchi does not carry across beyond the Lombard limes. The only place that Bianchi would tirelessly frequent outside of his native borders was the much-loved town of Chioggia which, starting from 1879 (until the mid-1890s), became the scene of many of his experiments, always together with city landscape paintings of his adopted city, Milan.