Annunciation (1439-1443) by Fra Angelico

Annunciation - Fra Angelico - 1439-1443 - 2

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Artwork Information

ArtistFra Angelico
Dimensions195 x 158 cm
Art MovementEarly Renaissance
Current LocationSanta Maria delle Grazie, San Giovanni Valdarno, Italy
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About Annunciation

Fra Angelico’s “Annunciation” is a renowned artwork that depicts Archangel Gabriel revealing to the Virgin Mary that she will bear a child who would become Jesus, the savior. Painted within the Renaissance era, Fra Angelico’s interpretations of the Annunciation have continued to stand out due to its style and symbolism. The painting was originally part of a large altarpiece, and it now stands within an elaborate frame.

Notably, Fra Angelico produced several versions of the “Annunciation” over approximately two decades. The painting in question is commonly regarded as one of his most well-known works, and art experts credit this distinction partly to its clear visual narrative, with Gabriel kneeling before Mary while holding lilies representing purity. Besides this symbolism, another striking aspect is Mary’s humble expression as she receives the news from Gabriel.

Interestingly, Fra Angelico used ‘tempura style’ for his painting by employing pigments dispersed in an egg yolk mixture. This practice dates back centuries and entails mixing water-soluble pigments with egg yolks instead of oil or other binding agents used in today’s paintings. It allowed for faster drying periods than oils or frescoes and produced rich colors resistant to fading over time.

The setting depicted in pieces like Fra Angelico’s “Annunciation” are significant since they convey symbolic messages to viewers about birth, death or rebirth themes; however they are being interpreted today by contemporary audiences somewhat differently than centuries ago. Nevertheless Annunciation paintings continue be popular among religious communities globally as it provides context and reverence towards Christian beliefs regarding Jesus Christ’s birth story narrated in Bible sections like Luke 1:26–38

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