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Unlike other works by the Greek artist, figures in the ‘The Annunciation’ are relatively proportionate.

Symbolism in the Annunciation « The Global Dispatches

The Global Dispatches “Annunciation Art” photo gallery, click here

The fact of the Annunciation of the Blessed Virgin Mary is related in Luke 1:26-38
We have many reasons to give due consideration and prayerful reflection to the Magnificat. It is the longest discourse recorded of Mary in Divine Revelation. Many are the stories written telling about the heart of Mary as shown in that beautiful prayer. Certainly inspired, it was pronounced by Mary herself when she was carrying the Divine Child in her womb. It is the perfect act of humility and of profound humble adoration. It is part of the Church’s liturgy and has been such since the very first centuries. It has been recited or sung daily by ancient monks and hermits and other Religious who have consecrated themselves to God. It is indeed the prayer of consecrated souls and all clients of Mary.

The Annunciation - The Art of Painting

‘The Annunciation’ and other pieces of the altarpiece were dismantled and removed during the French occupation of Spain.
The cycle ends with a depiction of the Annunciation, not strictly part of the Legend of the True Cross but probably included by Piero for its universal meaning.

With the scene of the Annunciation, the chronology of the story enters the time of the New Testament. This scene is not ordinarily included in the True Cross legend. Never inappropriate in cycles concerned with the theology of salvation, the Annunciation may have been required here in remembrance of the important indulgence, granted in 1298 and often renewed, awarded to all visitors who worshipped in the church on March 25, the Feast of the Annunciation.

 

The Annunciation to the Virgin Mary, illustrated in paintings.

El Greco created several versions of the Annunciation, and this version is believed to be one of the last of the series he painted in Italy.
Virgin Annunciate,by the Italian Renaissance artist Antonello da Messina, is housed in the Regional Gallery of Palazzo Abatellis, Palermo, in southern Italy. Probably painted in Sicily in 1476, it shows Mary interrupted at her reading by the Angel of the Annunciation.

Antonello da Messina studied the Flemish artists, notably Jan van Eyck. Based on these experiences, when he returned to Venice he introduced oil painting and Flemish pictorial techniques into mid-15th-century Venetian art.

A masterpiece of Italian Renaissance art, Antonello's The Virgin Annunciate was created for a domestic interior. It is a haunting image of the adolescent Mary when the angel Gabriel announces to her that she will bear God's Son. The modest Sicilian female, attired in a simple blue mantle, is aloof and mysterious. She is shown bust-length and against a plain background. Mary looks up from behind a reading desk upon which her book of devotions rests. Her direct outward gaze and right hand raised in a blessing gesture engage the viewer, who replaces Gabriel as the provider of the miraculous news and becomes an active participant in the charming painting's story. The lack of a pendant or adjoining panel suggests that the angel's presence is implied.

Noteworthy in The Virgin Annunciate is Antonello's use of light to build convincing forms. To paint Mary's foreshortened right hand, he may have employed a velo, a stringed grid through which an artist observed objects and then recorded their contours onto a squared piece of paper.


Why has so little attention been paid to images of theAnnunciation, to representations of the angel Gabriel announcing to the virginof Nazareth that she will soon be big with God? Apart from two dissertations, written for departments of Theology andFine Arts, no full length study has been devoted to these images in the pastfifty years and no full length study ever has been published in English. What could explain this apparent lapse,and what does it mean for us, today?


A highlight of the scheme is a perfectly poised annunciation

The Virgin Mary
Piero paints Mary as a massive figure, tall as a column (another of her epithets), of great nobility and acquiescence. Her scale and demeanor qualify her as a symbol of the Church, while her expression and grace are full of human warmth. Her house, the “Casa Santa,” is a marble-encrusted, classicizing dwelling. Through the open doorway, her thalamus or marriage-bed is visible, alluding to the Marriage of Christ and Ecclesia that is taking place at the Annunciation. In the upper right quadrant, the shadow of the tapestry bar passes through the hanging-loop, again symbolizing Mary’s unbroken virginity. More than any other scene, the Annunciation transforms medieval symbolism into a vista of the new rationally measured world of the Renaissance.


Duccio: Annunciation of the Death of the Virgin - Art …

Images of the Annunciation proliferated when Renaissance artwas beginning to give narrative continuity to the Christian saga. These images, and the text theypictured, represented an important episode in the story of the Word made flesh,but the scene of Mary's special situation, onlyby extension a story about the son of God, never proved as important orcompelling for scholars as those episodes represented in scenes of the Nativityor Crucifixion. Moreover, as MichaelBaxandall has shown, images of the Annunciation were primarily of interest toRenaissance women and girls who used them as aids in visualizing themselves aspart of the Christian narrative. Thus, already in the Renaissance, theAnnunciation to Mary had a marginal existence and limited importance.

Duccio, Annunciation of the Death of ..

God-the-Father and the Angel
Piero has created an ingenious four-part composition that combines heaven and earth. God-the-Father carried on clouds in the upper left quadrant emits golden rays from his hands. [Very little of the gold, applied after the plaster is dry, remains on any of the frescoes.] At the same moment the Angel Gabriel alights below, in the forecourt of Mary’s house. He is silhouetted against the intricately carved doorway, which is closed, fulfilling the prophecy of Ezekiel (44:2; perhaps represented in the figure depicted two tiers above). Gabriel proffers not a lily but a palm frond, thus announcing not only the incarnation of Christ but also the future death and compassion of Mary herself. The palm is known as the key to paradise, lost when Eve sinned but returned when Mary died. The sin of Eva is unlocked by this key as Gabriel utters the greeting Ave, its reverse.