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Giuseppe Nuvolone Giuseppe Nuvolone (Milan, 1619 - 1703), Saint in EcstasyXVII Century
XVII Century
$11,893.10
£8,849.69
€10,000
CA$16,340.47
A$18,237.37
CHF 9,594.94
MX$221,533.70
NOK 121,638.28
SEK 113,838.19
DKK 76,126.18
About the Item
Giuseppe Nuvolone (Milan, 1619 - 1703)
Saint in ecstasy
Oil on canvas, 97 x 73 cm
Framed, 113 x 90 cm
Provenance: Rome, private collection
The second son of the famous painter Panfilo and his consort Isabella, Giuseppe Nuvolone was born in 1619 in Milan. Like his brother Charles Francis, he was often remembered in contemporary and later documents by the nickname of his father Panfilo. We do not have well-defined information with respect to his beginnings as a painter and his training, which must have taken place, however, with his older brother Charles Francis. This is evidenced by the earliest works that can be referred to him with certainty, namely the Domestic Works of the Holy Family in S. Giorgio in Bregnano (1646) and the altarpiece with St. Francis in Ecstasy in S. Giorgio in Cornate d'Adda (1650), in which he demonstrates an unconditional adherence to the style choices of the fraternal workshop, so much so that, especially in these years, the distinction between the works of the two painters and the precise definition of their respective catalogs are often problematic. The contiguity with his brother is confirmed in the numerous undertakings executed in collaboration, starting at least with the cycle of canvases and frescoes with Biblical Scenes in the Chapel of the Savior of the Sanctuary of the Blessed Virgin of Vimercate (1648-1652) and the famous Self-portrait of the Nuvolone family in the Pinacoteca di Brera, made around mid-century, in which Giuseppe is responsible for the three figures on either side of the scene, including the self-portrait, in the act of playing a mandola. Focusing on the role played by Giuseppe in the context of this long habit of collaboration finds an indispensable term of reference in the paintings made in the same years by the painter independently, such as the decoration of the chapel of S. Antonio Abate in the collegiate church of S. Lorenzo in Chiavenna, whose altarpiece bears the date 1657; the altarpiece in the parish of Groppello d'Adda (1657); the Magdalene in the Museo civico in Novara (1655-1658); and the Cain and Abel in the basilica of S. Maria Maggiore in Bergamo, dated 1659. Compared with the works of his brother Charles Francis, Giuseppe's corpus is distinguished by a marked propensity to characterize the figures more vigorously and to introduce more explicit expressive accentuations into the delicate typological repertoire of the family workshop, which contribute to cracking the harmonious regularity of the faces. These stylistic prerogatives are also fully grasped in Joseph's slightly later works, such as the large Madonna of Milk and Devotees, formerly at the antiquarian Luzzetti in Florence (1661) and Ruth and Boaz, from a private collection (1662): two paintings also useful in highlighting the narrative effectiveness of Joseph's painting and his ability to master large-scale representations. It is also by virtue of these qualities that the artist enjoyed, starting in those years, a growing success, certainly favored by the death of Carlo Francesco in 1661, which turned him into the main popularizer of the fortunate 'Nuvolonian' manner: the painter's growing popularity translated into a noticeable increase in illustrious commissions, such as those received from the Savoy family or the noble Bartolomeo Arese, who became president of the Senate of Milan in 1660. Participation in the lost series of canvases commissioned for the funeral of King Philip IV in Milan cathedral (1665) and the execution of the Habsburg Allegory now in Milan's Palazzo Sormani, which has been proposed to be related to the ceremonies prompted by the passage to the Lombard capital in 1666 of Margaret of Austria, future wife of Emperor Leopold I, should be read in this light. Between the 1660s and the 1970s Giuseppe Nuvolone sojourned in Rome and worked in various Lombard centers, first and foremost Cremona, the birthplace of his father Panfilo, and Brescia. Giuseppe's extensive and successful career ended with his death in 1703; the painter passed on his profession to his sons Carlo, who was active mainly in the Swiss area, Gerolamo and Antonio.
The depiction of female figures in an ecstatic state turns out to be frequent with regard to the entire pictorial production of the Nuvolone family and is channeled in a vein variously traversed, as early as the first quarter of the seventeenth century, by the so-called Lombard pestants: we need only think, in this perspective, of the evocative works of Francesco Del Cairo. This typology occurs often in Joseph's production, as denoted by the Martyr Saint of the Carrara Academy in Bergamo and the Saint Lucy pertaining to the municipality of Brescia. The figure of our saint, probably identifiable with Margaret of Antioch, with the peculiar hairstyle enriched with pearls and holding in her hands the palm of martyrdom, rendered with soft sensuality, finds palm comparisons in some of Giuseppe Nuvolone's works, among which we recall, in addition to the already mentioned canvases of Bergamo and Brescia, Magdalene comforted by an angel (formerly Finarte, Rome 1984, cf. Ferro, 2003, p. 426 no. 108b) or two different versions of Saint Ursula (location unknown, Ferro, 2003, p.426, no, no. 108d and private collection, Ferro, 2003, p. 427, no. 109c). Also very similar in terms of pictorial conduction, pose and workmanship of the robes is the figure of St. Catherine in the altarpiece of St. Catherine and St. Francis Xavier made by Giuseppe Nuvolone for the Company of Merchants of Oleggio (Novara) and now preserved in the parish church.
- Creator:Giuseppe Nuvolone (1619 - 1703, Italian)
- Creation Year:XVII Century
- Dimensions:Height: 38.19 in (97 cm)Width: 28.75 in (73 cm)
- More Editions & Sizes:cm 97 x 73Price: $11,893
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216763982
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