17th century, Nuvolone workshop

17th century, Nuvolone workshop

Annunciation

Oil on canvas, 98.5 x 127

With frame, 144 x 115 cm

Depicted is a canonical Annunciation which sees Mary kneeling interrupted by the whirlwind arrival of the Archangel Gabriel who prunes as a gift some candid lilies, a symbol of purity, as a reminder of the untouched virginity and purity of the Virgin. The scene is enveloped in divine light whose rays radiate from the dove of the Holy Spirit.

For stylistic and formal characteristics, the painting can be attributed to an artist well aware of the work of the painters Carlo Francesco Nuvolone (Milan, 1609 - 1662), a celebrated Milanese painter, part of a prolific workshop founded by his father Panfilo and his brother Joseph (1619-1703). The characteristic component of their work was that of the fusion between 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 was trained in the Ambrosian Academy founded by Borromeo under his father Panfilo and later with Giovanni Battista Crespi, known as Cerano.

Carlo Francesco undergoes the suggestion of the vibrant pathos of the two leaders of the early seventeenth century in Lombardy, Cerano and Procaccini, which he declines in a language with executive frankness, but static in compositional articulation. In full maturity the language becomes more relaxed and mature, thanks also to the greater mastery of drawing, up to the full mastery of an expressive register by now fully Baroque, which finds its distinctive features in the airy direction of the scenes and even more in the prerogatives of the pictorial treatment, now animated by an atmospheric and leavening texture, capable of giving the figures a vaporous consistency, suitable for the softened inflection that inspires their expressions and attitudes.

Giuseppe remained more stylistically linked to his older brother Carlo Francesco even if after the death of his more famous brother in 1662 he received considerable fortune as he remained the only popularizer of the successful "Nuvolonian" manner. Giuseppe thus prepares to mature and strengthen his own detached pictorial language: the painting becomes more intense and solemn in the liveliness of the 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, above all by looking at the figure of the Madonna, to the Virgin in the altarpiece of the church of Santo Sepolcro in Milan and in the Holy Family of the Pinacoteca Ambrosiana; another reference is the Brera Annunciation by Carlo Francesco. But also to the madonnas of Joseph as in the Holy Family of Bregnano (Como), Madonna and saints of the Civic Museum of Piacenza

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