The curious note regarding the present bronze is that it follows an important painting by the Canadian painter Paul Peel (1860-1892), The Young Biologist (Toronto, Art Gallery of Ontario); a painting that received wide notoriety at the Parisian Salon of 1891. Pandiani was familiar with Paris and his Milanese foundry in via Olmetto released several works in line with the modern international taste of the time, declining the subjects in anecdotal terms.
In in this particularly successful case, Antonio has transposed a painting into bronze in qualitative but also stylistic terms; it was nothing new, given that the Pre-Raphaelite sculptor Giovanni Battista Amendola translated Leighton's paintings into the triple plastic dimension, but it is interesting that Pandiani, with his highly eclectic taste, turned to a painting so eccentric compared to the context of the time.