17th Century, Nuvolone Workshop
Annunciation
Oil on canvas, 98.50 x 127.00 cm – with frame
Pictured is a canonical Annunciation that sees Mary kneeling, interrupted by the tumultuous arrival of the Archangel Gabriel, who brings the gift of pure white lilies, a symbol of purity, to remind of the Virgin's immaculate virginity and purity. The scene is enveloped in divine light whose rays radiate from the dove of the Holy Spirit.
Stylistic and formal characteristics of the painting suggest it should be attributed to an artist well acquainted with the work of painters Carlo Francesco Nuvolone (Milan, 1609 – 1662), a renowned Milanese painter, part of a prolific workshop founded by his father Panfilo and his brother Giuseppe (1619-1703). The characteristic component of their work was the fusion of the two traditions, Lombard and Emilian, typical of the Nuvolone. These collaborated in the decoration of the Chapel of the Sacro Monte d'Orta and in the frescoes in San Francesco in Trecate. Carlo Francesco trained within the Ambrosiana Academy founded by Borromeo under his father Panfilo and later with Giovanni Battista Crespi, known as Cerano.
Carlo Francesco is influenced by the vibrant pathos of the two leading figures of the early Lombard Seicento, Cerano and Procaccini, which he declines in a language with executive frankness, but static in compositional articulation. In full maturity, the language becomes more fluid and mature, thanks also to the greater drawing mastery, up to the full mastery of an expressive register that is now fully Baroque, which finds its distinctive features in the airy direction of the scenes and even more in the prerogatives of pictorial treatment animated now by an atmospheric and leavening texture, able to give the figures a vaporous consistency, appropriate to the tender inflection that inspires their expressions and attitudes.
Giuseppe remained stylistically more closely linked to his older brother Carlo Francesco even after the death of his more famous brother in 1662, enjoying considerable fortune as he remained the sole disseminator of the successful "Nuvolonian" manner. Giuseppe thus prepares to mature and strengthen his own distinct pictorial language: the painting becomes more intense and solemn in the liveliness of tones and in the complexity of the compositions; the narrative effectiveness of Giuseppe's painting and his ability to master large-scale representations.
The present painting can be compared, especially looking at the figure of the Madonna, to the Virgin in the altarpiece of the church of Santo Sepolcro in Milan and in the Sacred Family of the Pinacoteca Ambrosiana; another reference is Carlo Francesco's Annunciation of Brera. But also to Giuseppe's Madonnas as in the Sacred Family of Bregnano (Como), Madonna and saints of the Civic Museum of Piacenza
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