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31:
268:, the scene's space is divided in two by arches on the first floor. The building has a transitional architecture somewhere between traditional pointed, polyptych medieval design and the squared architecture of the Renaissance. At the center of the arches, there is a medallion with a figure of a prophet, who is looking at Mary and holds in his hand a paper that certifies the truth of his prophecy.
251:, with some differences. First of all, the composition is divided into two sections rather than three, with the garden reduced to a glimpse through the arches on the left side. Mary and the angel are placed and clothed like the Annunciation of Cortona, with a greater use of light. The illumination arrives consistently from the left, from the garden, to light drapery and the architecture.
271:
Unlike many works of the time from Arezzo, the painting depicts a range of rich colors. The colors vary from the green of the garden, to the rose and gold of the angel's clothes, to the blue and red of Mary, ending with the starry ceiling of the portico and the delicate marble decorations of the
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198:(who was paid in 1443). That commission suggests that Angelico's work never arrived in Brescia and was taken to another location, for unknown reasons. Some art historians believe that the
479:
573:
233:. It remained there until the 20th century. During World War II, the painting was looted from Italy by the Germans and returned to the country by
447:
393:
279:
alludes to the virginity of Mary and is depicted with a verdant multitude of plants. Among the species shown, the palm in particular recalls the
194:, of which no trace remains. Several years later, the same church commissioned another Annunciation panel, this time from the Venetian artist
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placed inside the house, rather than outside, which concentrates attention on the spectacle of the
Annuciation. Like
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was looted from Italy during the Second World War by the
Germans and returned to the country via the work of
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is displayed with five scenes from the life of Mary, attributed to an assistant of
Angelico,
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283:
of Christ. On a hill at the upper left corner of the painting, there is an tiny episode of
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8:
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617:
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The scene is composed in a similar manner to the first panel in the series, the
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141:. It is now held at the Museo della Basilica di Santa Maria delle Grazie in
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41:
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72:
195 cm × 158 cm (77 in × 62 in)
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118:
panels painted by Fra
Angelico in the 1430s. The other two are the
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111:
316:
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was originally intended for Sant'Alessandro, others the
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Madonna and Child with St
Dominic and St Thomas Aquinas
80:Museo della Basilica di Santa Maria delle Grazie,
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332:
614:(1434) (original drawings by Fra Angelico)
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29:
465:Crucifixion with Mourners and St Dominic
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285:Adam and Eve being evicted from Paradise
275:At left, as in the preceding works, the
182:In 1432, Fra Angelico was working on an
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217:Convento di San Francesco a Montecarlo
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308:Annunciation of San Giovanni Valdarno
213:Annunciation of San Giovanni Valdarno
206:Annunciation of San Giovanni Valdarno
155:Annunciation of San Giovanni Valdarno
135:Annunciation of San Giovanni Valdarno
92:Annunciation of San Giovanni Valdarno
24:Annunciation of San Giovanni Valdarno
114:on panel. It is part of a series of
179:in the Museo Diocesano of Cortona.
95:is a painting by the Italian Early
13:
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568:Frescoes in the Niccoline Chapel
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16:Panel painting by Fra Angelico
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672:Paintings of the Annunciation
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469:
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641:Museo Nazionale di San Marco
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495:Croce al Tempio Lamentation
379:San Pietro Martire Triptych
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186:painting for the church of
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541:Presentation at the Temple
433:Tabernacle of the Linaioli
226:in San Giovanni Valdarno,
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667:Paintings by Fra Angelico
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165:. The two others are the
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449:Coronation of the Virgin
395:Coronation of the Virgin
248:Annunciation of Cortona
201:Annunciation of Cortona
176:Annunciation of Cortona
121:Annunciation of Cortona
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594:Armadio degli Argenti
575:Adoration of the Magi
560:(c. 1441-1442) (with
557:Adoration of the Magi
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143:San Giovanni Valdarno
82:San Giovanni Valdarno
677:Paintings in Tuscany
549:San Marco Altarpiece
410:Deposition of Christ
260:Masolino da Panicale
254:Fra Angelico used a
441:Madonna of Humility
108: 1430 to 1432
612:Virgin Reliquaries
511:Perugia Altarpiece
363:Fiesole Altarpiece
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173:in Madrid and the
161:of the subject by
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371:The Last Judgment
272:walls and floor.
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583: 1440/1460
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534: 1440–1445
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526:The Annunciation
520:
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503:Cortona Triptych
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426: 1433–1434
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281:future martyrdom
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55: 1430–1432
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277:enclosed garden
256:vanishing point
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235:Rodolfo Siviero
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215:arrived at the
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139:Rodolfo Siviero
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101:Fra Angelico
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42:Fra Angelico
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597:(1451–1453)
570:(1447–1449)
552:(1438–1443)
544:(1438–1440)
519: 1437
506:(1436–1437)
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473: 1435
452:(1434–1435)
444:(1433–1435)
436:(1433–1435)
413:(1432–1434)
403: 1432
390:(1430–1432)
382:(1428–1429)
374:(1425–1430)
366:(1424–1425)
241:Description
231: 1438
220: [
97:Renaissance
656:Categories
103:, painted
69:Dimensions
355:Paintings
585:) (with
304:predella
291:Predella
124:and the
77:Location
634:Museums
605:Related
302:In its
192:Brescia
169:in the
149:History
112:tempera
99:master
498:(1436)
306:, the
61:Medium
38:Artist
224:]
171:Prado
211:The
153:The
133:The
89:The
48:Year
262:'s
190:in
110:in
658::
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