| (눅 1:28) | 그에게 들어가 이르되 은혜를 받은 자여 평안할지어다 주께서 너와 함께 하시도다 하니 |
Botticelli (Sandro Filipepi) ca. 1445 – 1510
The Annunciation
tempera on panel (19 × 31 cm) — c. 1485
Metropolitan Museum of Art, New York
Botticelli (Sandro Filipepi) biography
This work is linked to Luke 1:28
The angel Gabriel greets the virgin Mary. The bedroom curtains are drawn back, so we can see her kneeling. Golden rays of light accompany the angel.
Botticelli applied linear perspective to create depth in the painting.
This small panel with gold and tempera was probably made for domestic purposes. The patron is not known.
Robert Campin ca. 1380 – 1444
Merode altarpiece - Annunciation
oil on panel (64 × 63 cm) — 1425-1430
Metropolitan Museum of Art, New York
This work is linked to Luke 1:28
Please scroll down to read more information about this work.
Central panel of Campin's Mérode triptych. It shows Mary reading. She hasn't noticed the angel yet, who is about to tell her of what is to happen.
There is much symbolism in this panel. The flame of the candle on the table has just been extinguished. The flame is a symbol of God. A new shape of God is already on its way: on the sunrays beaming through the left window a tiny Jesus enters the world.
The lilies on the table represent Mary's virginity. The folds of her robe form a star: Marys as a star of stars. The two books probably represent the old and new testaments.
Jacob de Wit 1695 – 1754
The Annunciation to Mary
oil on canvas (207 × 166 cm) — 1723
This work is linked to Luke 1:28
When the angel greets Mary, she shrugs back and raises her hand as if she wants to ward off the angel. He then tells her not to be afraid and that she will soon bear a special child.
In the top centre is a dove, the symbol of the Holy Spirit.
De Wit made this painting for the chapel of a catholic orphanage in Amsterdam.
El Greco 1541 – 1614
The Annunciation
oil on canvas (315 × 174 cm) — 1597-1600
This work is linked to Luke 1:28
Please scroll down to read more information about this work.
Mary greets the angel who brings her the big news: she is to have a son.
Between them is the bush that Moses saw burning without it being burnt. It symbolizes Mary's virginity.
On the floor is a temple veil. According to an Armenian story, Mary was working on it at that moment.
In the top is a group of angels playing music.
El Greco made this painting as part of an altarpiece for the church of the monastery Lady Mary of Aragon in Madrid. The altarpiece also included a Baptism, Crucifixion, Resurrection and Pentecost.
Fra Angelico 1387 – 1455
The Annunciation
fresco (230 × 321 cm) — 1438-45
This work is linked to Luke 1:28
This is a fresco in a corridor of the San Marco convent in Florence. Mary and the angel greet each other devoutly. In the background Fra Angelico painted typical Tuscan cypresses.
The purpose of the black lines between the arcs of the loggia is unclear. They do show that Angelico had good control of linear perspective.
Fra Angelico spent most of his life in the San Marco convent. He and his assistants decorated the walls between 1438 and 1450. For the fresco's in the monks' cells they used less expressive colours.
Il Tintoretto 1518 – 1594
The Annunciation
oil on canvas (440 × 542 cm) — c. 1563
This work is linked to Luke 1:28
Out in the yard Joseph is at work. Inside the house, Mary is visited by an entire fleet of angels. Somewhat surprised, she tries to think of what to do (ref. Luke 1:29). She has a book in her lap.
Tintoretto has the viewer view the house from an elevated position. Many aspects of the room are shown in detail, including the old chair in the corner, which indicates the family's poverty.
The canvas is in a room with seven other paintings by Jacopo Tintoretto, all on the life of Mary and on Jesus' childhood (ref. this Massacre of the Innocents).
Leonardo da Vinci 1452 – 1519
The Annunciation
tempera on panel (98 × 217 cm) — ca. 1474
Galleria degli Uffizi, Florence
This work is linked to Luke 1:28
For a long time The Annunciation was attributed to Domenico Ghirlandaio, until experts recognized a young Leonardo as its maker. one deciding aspect is the background: water and mountains under a hazy sky are typical Da Vinci. The detailed clothing would be more in the style of Botticelli.
Simone Martini ca. 1284 – 1344
The Annunciation
tempera on panel (184 × 210 cm) — 1333
Galleria degli Uffizi, Florence
This work is linked to Luke 1:28
Archangel Gabriel (with wings) delivers the message to the virgin Mary. Martini takes this literally: he has words flowing from the angel's mouth to Mary. "Ave Maria, gratia plena, dominus tecum [..]" (Luke 1:28).
This altarpiece is rich in gold leaf. To the left Ansanus, patron saint of Siena; to the right St. Giulitta. They may have been painted by Martini's brother-in-law Lippo Memmi.
Jan van Eyck 1390 – 1441
The Annunciation (Madrid)
oil on panel (39 × 23 cm each) — c. 1435
Museo Thyssen-Bornemisza, Madrid
This work is linked to Luke 1:28
This diptych is a perfect example of a trompe-l'oeil: an optical illusion. Here it is done in grisaille. It really seems to be a three-dimensional picture.
The stones the figures stand on seem to point out of the list. Mary and the Angel's wing seem to cast a shadow over the list, making it look as if they are standing in front of it rather than next to it. It also seems as if the figures are reflected in the shining black marble in the background. The text in the top of the list seems like cut into stone.
Perhaps Jan van Eyck tried to show the superiority of painting over sculpture. Painting can not only imitate sculpture but also surpass it.
| (눅 1:34) | 마리아가 천사에게 말하되 나는 남자를 알지 못하니 어찌 이 일이 있으리이까 |
Rogier van der Weyden 1399/1400 – 1464
The Annunciation
oil on panel (86 × 92 cm) — ca. 1440
Rogier van der Weyden biography
This work is linked to Luke 1:34
Central panel of a triptych by Rogier van der Weyden. The wings are in a museum in Turin.
The triptych was made in Van der Weyden's workshop but probably not by himself. Experts point at the lack of Rogier's usual rigour and at the inferior brushwork in the angel's golden cope.
As Jesus was born on December 25th, this scene must have taken place around March 25th. There is no fire in the fireplace and the windows are open. The lilies in the foreground are symbol of the virgin's purity.
Jan van Eyck 1390 – 1441
The Annunciation (Washington)
oil on panel (93 × 73 cm) — c. 1435
National Gallery of Art, Washington DC
This work is linked to Luke 1:34
Transfered over a lightbeam, the Holy Spirit -symbolized by a dove- enters Mary as she speaks with the archangel Gabriel. The white lilies symbolize her virginity. The tiles on the floor show tableaux from the Old Testament, said to prelude the coming of the Redeemer.
Watch how Van Eyck plays with more and less opaque layers, suggesting an unprecedented transparency. The Flemish master was the first to truly use the possibilities offered by the new oil paint technique.
Painted on panel, later transfered to canvas. Probably part of a triptych.
The panel has an impressive provenance. It probably spent its first centuries in a convent in Dijon, capital of Burgundy in Van Eyck's times. Van Eyck and other Flemish primitives often worked for the dukes of Burgundy. After the Frencj revolution it was acquired (1819) by the Dutch prince William, who was to become king William II. After his death in 1849 his heirs sold most of his art collection. The panel ended up in Russia. The Hermitage transfered the painting to canvas. After the Russian revolution it turned up in Paris. In 1930 the American banker Andrew Mellon bought it. He later gave it to the National Gallery in Washington.
Please scroll down to read more information about this work.
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