Carlo Francesco Nuvolone (Milan, 1609-1661)
Portrait of one of Bernardo Morando’s daughters
Oil on canvas, 128 x 96.5 cm (with frame cm 150 x 117)
Carlo Francesco Nuvolone was one of the exponents of the Lombard school of the seventeenth century. He was a pupil of his father Panfilo and attended the Ambrosian Academy under Giovanni Battista Crespi known as Il Cerano. His paintings were influenced not only by Cerano, but also by Procaccini and, later, by Van Dyck and Rubens, but also by Guido Reni and Guercino. His painting, initially gloomy and dramatic, will undergo a change that will make him the protagonist of the renewal of the Milanese school, towards a fully Baroque style, that “Nuvolonian way” which will be followed and imitated by innumerable followers. Beyond the numerous sacred subjects, frescoes, altarpieces, the Nuvolone will not neglect the profane subject nor the portrait, with which he will always be very familiar thanks both to prestigious commissions and to more or less illustrious representatives of the Lombard nobility.
The girl depicted in full-length is assumed to be one of the daughters of Bernardo Morando (Sestri Ponente 1589-Piacenza 1656), of Ligurian origins but moved to Piacenza in 1604, an important figure in the life of the Farnese court to which both economic activities and his poetic production. In the painting, in the lower left, a noble coat of arms appears, a double-headed eagle in the upper part and a human head in the lower one, a heraldic emblem corresponding to the Piacenza branch of the Morandi (or Morando).
The workmanship of the red-orange dress with the long dark overcoat retained by a precious clasp, the large neck trimmed with Flanders lace date the painting towards the end of the 1830s, a precious chronological specification as it is documented in the same period the presence of Carlo Francesco Nuvolone in the territories of the duchy, as evidenced by the portraits of Carlo Beccaria, treasurer of the Farnese family, and his wife Giulia, datable around 1640 and both attributed to Nuvolone, of which there are numerous paintings in the private collection of ‘portrayed.
Moreover, the graceful affability of this portrait of a young girl brings us back to the early works of the Nuvolone of which the Madonna and Child of the Diocesan Museum in Milan is significant, but also the Portrait of a young girl from the Pinacoteca di Castello di Pavia, to which she is linked. very similar to pictorial material.
The painting is accompanied by the expertise of the art historian Massimo Pirondini, one of the leading experts on Emilian painting in Italy.
He underwent a conservative restoration at the Taddei Davoli laboratory in Reggio Emilia.
The painting leaves the collection with a 17th century Salvator Rosa frame in gilded wood.