The Annunciation

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Jiajing Lei
A Deeper Look into a Piece of Art
Sandro Botticelli
Botticelli, (Alessandro di Mariano Filipepi) (Italian, Florence 1444/45–1510 Florence) 1485
Tempera and gold on wood
Accession number: 1975.1.74

One of the most celebrated paintings in the Robert Lehman Collection, this jewel-like representation of the Annunciation is set in an architectural interior constructed according to a rigorous system of one-point perspective. The panel was almost certainly commissioned as a private devotional image, not as part of a larger structure. While the identity of the patron is not known, the work was in the famed Barberini collection in Rome in the seventeenth century.

Jia Jing lei
Art History
Professor Boyce
November 20, 2012
A deeper look into the fine art of the “ Annunciation”
As I walk in the Metropolitan Art Museum, I began to walk around the art gallery that was around me. It was a great area with a roomful of bright and artistic paintings that was created by famous artists around the world. But only one painting got my attention. The painting happens to be the Annunciation by Botticelli. The Botticelli’s The Cestello Annunciation was presented in a jewel-like style and it is an architectural interior constructed based on a rigorous system of one-point perspective. After viewing the artistic techniques in the painting, it was clear that the painting demonstrates Botticelli’s style in bring together ideas of Christianity and pagan ideas which includes mythology and the changes in art due to the humanism of the Renaissance. Just giving a brief summary of famous painter Botticelli, Sandro would be considering the most famous painter of early Renaissance period, which was the one of the leading painters during his time in Florence. During his early career as an artist Botticelli trained with Filippo Lippi and he learned the delicacy, finesse and sweetness in which Filippo possessed while adding a wiry vigor of draughtsman ship comparable to that of Antonio Pollaiuolo. Highlighting some of the success in Botticelli’s career, he produces the Madonnas of half-length or Tondo format, deriving from Filippo Lippi’s models. In addition to Botticelli’s development in his own personal artistic style, he produced portraits that are with great charm and admirable in their depictions of a typically Florentine physiognomy and prevailing pure profile to frontal and three-quarter views under Netherland influence. Within Botticelli’s career, he produced exquisite small figure scales and the extraordinary Primavera in which figures are three-quarter in life size. The primavera is commonly supposed to suppose to have been painted for the young Lorenzo di Pierfrancesco de’Medici, but he possessed it before 1495, while on grounds of style t must have been painted perhaps before Lorenzo was adolescent. In 1481-1482, Botticelli, together with Perugino, Ghilandaio and Cosimo Rosselli, was painting matching Old and New Testament scenes on the walls of the newly completed Sstine chapel in Rome. However, by the end of the 1490s his style become more mannered, as in 1489 Cestello Annunciation, with its exaggerated gestures, with elongated figures. The Botticelli’s style had shifted into using oild glazes and it is rather dry. In contrast to Mantegna, that he devised his own allegories though he is well known in Medicean humanist circles. However, Botticelli did not invent but he was a consummate illustrate. By looking at the timeline in which Botticelli had progressed in his artistic styles, we can realize that art can be adapted with different surroundings and influences. (The Oxford Companion to Western Art) In the painting, the artist depicts the moment just after the Archangel arrival and it appears that it is telling the woman (which appear to look like virgin marry) that something bad is going to happen. From the facial expression of Virgin Mary we can see the frustration and uncertain of her feelings. The Tempera and...
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