1. 21 Aug


    Virgin Annunciate (c. 1476). Antonello da Messina (ca. 1430–1479). Palazzo Abatellis, Palermo.  The first to use oil paints in Italy, Antonello was one of the most influential painters of the quattrocento. The Virgin Annunciate shows a masterly orchestration of light sources, generating an interplay of backlight. Antonello condenses the sacred event into the single pensive and realistic figure of the Virgin, 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.

    Virgin Annunciate (c. 1476). Antonello da Messina (ca. 1430–1479). Palazzo Abatellis, Palermo. 

    The first to use oil paints in Italy, Antonello was one of the most influential painters of the quattrocento.

    The Virgin Annunciate shows a masterly orchestration of light sources, generating an interplay of backlight. Antonello condenses the sacred event into the single pensive and realistic figure of the Virgin, 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.

     

  2. 23 Jun


    fleurdulys: Virgin Annunciate - Antonello da Messina Circa 1474-1475. Oil on wood. Early Renaissance religious painting. Galletria Nazionale della Sicilia, Palermo, Italy. Antonello (c. 1430-79) breaks with Annuciation tradition and condenses the sacred event into the single figure of the Virgin and concentrates on the personal and intimist aspects, underlining the effects of the event revealed to the pensive and realistic figure of the Virgin and making the viewer feel, due to the absence of the angel, that he is the sole witness to the sacred event.

    fleurdulys:

    Virgin Annunciate - Antonello da Messina

    Circa 1474-1475. Oil on wood. Early Renaissance religious painting. Galletria Nazionale della Sicilia, Palermo, Italy.

    Antonello (c. 1430-79) breaks with Annuciation tradition and condenses the sacred event into the single figure of the Virgin and concentrates on the personal and intimist aspects, underlining the effects of the event revealed to the pensive and realistic figure of the Virgin and making the viewer feel, due to the absence of the angel, that he is the sole witness to the sacred event.