Carlo Francesco Nuvolone

[2] After working with his father, Carlo Francesco studied at the Accademia Ambrosiana in Milan under Giovanni Battista Crespi (il Cerano).

He had in particular adopted from Giulio Cesare Procaccini the close attention to the handling of light and shadow as well as the careful study of facial expressions.

His first signed and dated work, the Miracle of St Martha (1636, Venegono Inferiore, Seminario Arcivescovile) also shows the influence of Morazzone.

[2] His altarpieces from the 1640s, such as the Assumption of the Virgin (Pinacoteca di Brera, Milan), demonstrate his interest in Anthony van Dyck.

Nuvolone was also active as a portrait painter working in the Lombard style with its penchant for a strikingly detailed portrayal of the sitter's features and garments and a lively depiction of the play of light and shadow.