January (1879); Cape d'Antifer near Étretat, Old Oaks on Race-Course of Auteuil (1880); End of the Day (1881); Farm Corner, Oak in Winter (1882); Pond of Saint-Cucufa (1883); End of Day at Brenne, Pond of La Mer-Rouge, ib. (1884); Morning, Grain-Field (1885).
NUCCI, ALLEGRETTO. See Allegretto
Nuzi.
NUÑEZ, JUAN, painted in Seville, beginning
of 16th century. Spanish school; pupil
of Sanchez de Castro. His best
known work, The Virgin supporting
the Dead Christ, with SS.
Michael and Vincent Martyr at her
side and an ecclesiastic kneeling
beneath, is in the Cathedral at Seville.—Stirling,
i. 96.
NUÑEZ DE VILLAVICENCIO.
See Villavicencio.
NUVOLONE, CARLO FRANCESCO,
born in Milan in 1608,
died there in 1651. Lombardo-Milanese
school; history and portrait
painter, son and pupil of Panfilo
Nuvolone; sometimes called
Panfilo and confounded with his
father. Afterwards studied under
Giulio Cesare Procaccini, and followed
his style, but later imitated
Guido so successfully that he was
named the Guido of Lombardy.
The Brera has several of his works,
and others are in the churches of
Milan, notably St. Peter's Miracle
at the Gate of the Temple, in S.
Vittore. Nuvolone was selected to
paint the portrait of the Queen
of Spain on her visit to Milan in
1649. Other works: Rebekah at the Well,
Bergamo Gallery; Assumption and Apostles,
Annunciation (2), St. Martha slaying a
Dragon (1636), Family of Panfilo Nuvolone,
Academy, Milan;
Chaste Susanna, Fondazione
Pol-di-Pezzoli,
ib.—Lanzi, ii. 529; Ch. Blanc, École
milanaise; Lavice, 125, 148.
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La Notte, Correggio, Dresden Gallery.
NUVOLONE, GIUSEPPE, born at Milan
in 1619, died there in 1703. Milanese
school; brother of preceding, with whose
works his own form a striking contrast;
reared in the same school, he exhibited a
more fervid imagination, though without
equal taste, and painted on a much larger
scale, for the cities of Lombardy, for many
churches in Brescia, and other cities in the
states of Venice. Among his best works are
his pictures in S. Domenico, Cremona; in
particular his grand piece of St. Dominic
raising a Dead Man. His portrait, painted
by himself, is in the Milan Academy.—Lanzi
(Roscoe), ii. 527.
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