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For identity, the closest thing I can find to an example is the famous one. Photography of a Nazi delegation to the League of Nations isn't intended to glorify the Nazi state, but it at least recognized them as newsworthy, and it seemed to be viewed positively enough by Goebbels before he learned the photographer was Jewish, then not so positively afterward. I would be surprised to find an example of exactly what you're looking for, but not because I'd expect the Nazis to have made "oh he's one of the good ones" exceptions for pro-Nazi art, just because they were clear enough about most of their bigotry that I wouldn't expect to see their targets making pro-Nazi art in the first place.
For "chosen style", you might be able to find something pro-Nazi, but expressionist, from before the Nazis came down clearly against non-realist art styles? Emil Nolde was apparently an anti-semite since WWI, and a Nazi supporter since the 1920s, but that didn't stop them from seizing a thousand of his paintings in the late 30s. His 1910 "Wise and Foolish Virgins" ended up in the "Degenerate Art" exhibition, and while one might imagine Nazis just recoiling from Jesus' parables like vampires from the cross, as best as I can tell their objection to Nolde was solely to the expressionist style. I can't actually find references to pro-Nazi paintings of his, though, just letters.
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