29:
240:
The angel is dressed sumptuously and holds his arms crossed in a sign of reverence to the Virgin. She is seated on a throne and holds in her hand her traditional attribute of a book, symbol of the scriptures that will come true. With an gesture, she seems to accept the commission entrusted to her by
236:
Thanks to the use of perspective, the play of the arches directs the viewer's gaze into the background of the painting toward the door. The effect, however, is more decorative than realistic and creates some uncertainty. For example, the connection of the columns to the ceiling: at their bases they
260:
and another fragmented
Annunciation, composed of two panels with the angel and the Virgin and broken at an unknown time. Both are stored at the National Gallery in Washington. The second work shows the angel in profile and is dated to
134:
167:. It remained in the church until around the beginning of the 19th century—its disappearance from the church was only mentioned in editorial comments from the 1832–1838 edition of
173:
237:
seem to be in the foreground, but at their capitals they seem further back. The two protagonists don't seem to inhabit the space but simply appear juxtaposed against it.
229:) to that of the 15th century and the Renaissance. The artwork is a delicate, ornamental scene, with precise chromatic effect. Masolino sets the scene not on a
558:
159:
In 1567, the panel was transferred to another chapel, and in 1576 it was placed in the church's sacristy, when it was substituted by a more modern
221:
201:
553:
233:
but in a furnished room. He evokes the traditional separation of panels with a central column that divides the scene in two.
148:(where Masolino worked from 1424 to 1425). The date of the painting is tied to the question of Masolino's capacity for using
139:
277:
189:
152:—he might have developed the technique either on his own or with the help of his collaborator on the Brancacci Chapel,
275:, who in the 15th century revolutionized the theme of the Annunciation with a series of three works that included his
332:
244:
His figure is of elegant aristocracy with a mantle that creates drapery of articulate, moving lines in the
563:
548:
164:
568:
196:
in
Scotland. It passed on in inheritance until it was found in London in 1915 by the antiquarian
149:
122:
88:
197:
248:
style. The tapered fingers are typical of
Masolino: they look both ethereal and unrealistic.
451:
219:
marks the passage from the
Annunciation iconography of the 14th century (exemplified by the
200:, who in 1916 gave it to Henry Goldman of New York. On April 26, 1937, it was bought by the
245:
8:
307:
517:
426:
377:
133:
The artwork was painted for the altar of the
Guardini chapel on the left wall of the
418:
205:
145:
185:
476:
226:
168:
144:
in
Florence. It is not known whether the work was painted before or after the
542:
521:
430:
381:
193:
272:
160:
230:
80:
148 cm Ă— 115 cm (58 in Ă— 45 in)
505:
28:
406:
361:
422:
188:. The painting was then sold and exported from Florence, perhaps by
407:"Spatial Imagery of the Annunciation in Fifteenth Century Florence"
257:
153:
104:
39:
241:
the Lord, while a divine light illuminates the ceiling above her.
69:
256:
540:
333:"How was the Brancacci Chapel originally seen?"
222:Annunciation with St. Margaret and St. Ansanus
204:of Pittsburgh, which then donated it to the
202:A.W. Mellon Educational and Charitable Trust
499:
497:
452:"The Annunciation by Masolino da Panicale"
355:
353:
27:
503:
400:
398:
559:Paintings in the National Gallery of Art
494:
370:The Burlington Magazine for Connoisseurs
359:
330:
211:
107:is a tempera on panel painting dated to
404:
350:
541:
395:
302:
300:
298:
296:
294:
506:"A Masolino Partially Reconstructed"
510:Source: Notes in the History of Art
190:Francis Douglas, 8th Earl of Wemyss
13:
444:
331:Rowlands, Eliot W. (5 July 2015).
291:
14:
580:
271:These works by Masolino inspired
121:. It is in the collection of the
251:
16:Painting by Masolino da Panicale
469:
324:
135:Chiesa di San Niccolò Oltrarno
1:
554:Paintings of the Annunciation
284:
262:
178:
115:
108:
56:
49:
7:
477:"Masolino: Italian painter"
10:
585:
360:Borenius, Tancred (1916).
128:
405:Spencer, John R. (1955).
84:
76:
65:
45:
35:
26:
21:
504:Joannides, Paul (1985).
481:Encyclopedia Britannica
337:www.theartnewspaper.com
123:National Gallery of Art
89:National Gallery of Art
198:Robert Langton Douglas
212:Description and style
246:International Gothic
208:in Washington, D.C.
125:in Washington, D.C.
456:Web Gallery of Art
308:"The Annunciation"
281:now at the Prado.
91:, Washington, D.C.
95:
94:
576:
564:Gothic paintings
533:
532:
530:
528:
501:
492:
491:
489:
487:
473:
467:
466:
464:
462:
448:
442:
441:
439:
437:
411:The Art Bulletin
402:
393:
392:
390:
388:
364:The Annunciation
357:
348:
347:
345:
343:
328:
322:
321:
319:
318:
304:
267:
264:
206:National Gallery
183:
180:
177:and unpublished
146:Brancacci Chapel
143:
120:
119: 1427–1429
117:
113:
112: 1423–1424
110:
61:
60: 1427–1429
58:
54:
53: 1423–1424
51:
31:
19:
18:
584:
583:
579:
578:
577:
575:
574:
573:
549:1420s paintings
539:
538:
537:
536:
526:
524:
502:
495:
485:
483:
475:
474:
470:
460:
458:
450:
449:
445:
435:
433:
423:10.2307/3047619
403:
396:
386:
384:
358:
351:
341:
339:
329:
325:
316:
314:
306:
305:
292:
287:
265:
254:
231:gold background
214:
186:Tommaso Puccini
181:
137:
131:
118:
111:
59:
52:
17:
12:
11:
5:
582:
572:
571:
569:Panel painting
566:
561:
556:
551:
535:
534:
493:
468:
443:
417:(4): 273–280.
394:
376:(158): 45–49.
349:
323:
289:
288:
286:
283:
253:
250:
227:Simone Martini
213:
210:
169:Giorgio Vasari
165:Alessandro Fei
130:
127:
93:
92:
86:
82:
81:
78:
74:
73:
67:
63:
62:
47:
43:
42:
37:
33:
32:
24:
23:
15:
9:
6:
4:
3:
2:
581:
570:
567:
565:
562:
560:
557:
555:
552:
550:
547:
546:
544:
523:
519:
515:
511:
507:
500:
498:
482:
478:
472:
457:
453:
447:
432:
428:
424:
420:
416:
412:
408:
401:
399:
383:
379:
375:
371:
367:
365:
356:
354:
338:
334:
327:
313:
309:
303:
301:
299:
297:
295:
290:
282:
280:
279:
274:
269:
259:
252:Similar works
249:
247:
242:
238:
234:
232:
228:
224:
223:
218:
209:
207:
203:
199:
195:
194:Gosford House
191:
187:
176:
175:
170:
166:
162:
157:
155:
151:
147:
141:
136:
126:
124:
106:
102:
101:
90:
87:
83:
79:
75:
71:
68:
64:
48:
44:
41:
38:
34:
30:
25:
20:
525:. Retrieved
513:
509:
484:. Retrieved
480:
471:
459:. Retrieved
455:
446:
434:. Retrieved
414:
410:
385:. Retrieved
373:
369:
366:of Masolino"
363:
340:. Retrieved
336:
326:
315:. Retrieved
311:
278:Annunciation
276:
273:Fra Angelico
270:
255:
243:
239:
235:
220:
217:Annunciation
216:
215:
172:
161:Annunciation
158:
132:
100:Annunciation
99:
98:
96:
22:Annunciation
527:25 February
486:25 February
461:25 February
436:25 February
387:25 February
342:25 February
312:www.nga.gov
266: 1430
182: 1800
163:painted by
150:perspective
138: [
543:Categories
516:(4): 1–5.
317:2021-02-02
285:References
77:Dimensions
522:0737-4453
431:0004-3079
382:0951-0788
184:notes by
258:Panicale
154:Masaccio
105:Masolino
85:Location
72:on panel
40:Masolino
174:Le Vite
129:History
70:tempera
520:
429:
380:
66:Medium
36:Artist
192:, to
142:]
529:2021
518:ISSN
488:2021
463:2021
438:2021
427:ISSN
389:2021
378:ISSN
344:2021
97:The
46:Year
419:doi
225:of
171:'s
114:or
103:of
55:or
545::
512:.
508:.
496:^
479:.
454:.
425:.
415:37
413:.
409:.
397:^
374:29
372:.
368:.
352:^
335:.
310:.
293:^
268:.
263:c.
179:c.
156:.
140:it
116:c.
109:c.
57:c.
50:c.
531:.
514:4
490:.
465:.
440:.
421::
391:.
362:"
346:.
320:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
