128 x 83 cm Toledo Museum of Art, Toledo, Ohio The colour and ecstatic movement is of the utmost splendour and grace, appropriate to the presentation of this particular Mystery, one of El Greco's favourite themes. The painting is a later and simpler version of the subject painted for the Colegio de Do?a Maria, Madrid
Painting ID:: 62325
315 x 174 cm Museo del Prado, Madrid The "expressionist" stylistic traits, characteristic of El Greco's paintings at the end of the 1590s, are also found in the paintings of a retable El Greco created for the Augustinian college of Nuestra Se?ora de la Encarnacion in Madrid between 1596 and 1600. The patroness of the college, the lady-in-waiting Do?a Mar?a de Cordoba y Arag?n, had died back in 1593, implying that the commission likely came from her executor. The retable, like many other works in possession of the Church, was disassembled into its component parts during the French occupation of Spain. All we know from the surviving written sources is that El Greco supplied a total of seven paintings. This Annunciation in the Prado is one of these paintings, and it is an especially good example of the daring palette that characterizes the entire series. At the bottom of the canvas, the terrestrial world is barely indicated by the steps, sewing basket and rose-bush in flame. The flames are rendered so naturalistically that they probably have appeared to mirror the real candle flames burning on the altar during the celebration of the Mass. But above and beyond El Greco has distorted light, colour and form. Indeed,all the form are in a state of flux. the grand rhythm of the wings of Gabriel and the Holy Spirit quicken the drama. Garments of crystalline blue, crimson and yellow-green vibrate against the blue-grey void. Incandescent light is reflected off the figures with such intensity that each seems to be its own source of light
Painting ID:: 62332
114 x 67 cm Thyssen-Bornemisza Collection, Madrid This painting is a remarkably fine reduced replica of one of El Greco's most haunting images, the Annunciation in the Prado, Madrid, that is almost three times as large. The Prado Annunciation formed the centre of the elaborate altarpiece commissioned from the artist in 1596 for the Colegio de Do?a Mar?a de Arag?n. El Greco's habit of making reduced replicas is amply documented. It is common knowledge that El Greco kept smaller, preliminary versions of almost all his works at home to show to his customers, and that he considered them finished, definitive works in themselves. Author: GRECO, El Title: The Annunciation , 1551-1600 , Spanish Form: painting , religious
Painting ID:: 62334
62 x 47 cm The Hermitage, St. Petersburg Albani painted many versions of this subject. One of the best is the large altarpiece in the church of San Bartolomeo in Bologna, to which this painting is closely related. Author: ALBANI, Francesco Title: The Annunciation , 1601-1650 , Italian Form: painting , religious
Painting ID:: 62439
1340 Fresco Collegiate, San Gimignano The picture shows the upper scene of the fresco cycle.Artist:BARNA DA SIENA Title: The Annunciation Painted in 1301-1350 , Italian - - painting : religious
Painting ID:: 63539
1410s Woollen tapestry, 345 X 290 cm The Cloisters Collection, Metropolitan Museum of Art, New York Tapestries provided a very suitable medium for the stylistic expression of the International Gothic art. While, in general, tapestry weaving attempted to solve the same problems as those raised by painting, the opposite can be observed in the period about 1400: it was then in fact painters who endeavoured to achieve effects like tapestry by the homogeneous texture of their pictures, which were made up from tiny, dense and decoratively stylized repeated elements. It is a characteristic feature of the International Gothic style to endeavour to make the various motifs appear to be of the same quality, and to give them the fluid lines of textiles. These endeavours felicitously made use of the possibilities offered by tapestry-weaving. In general terms the composition follows that of Broederlam's Annunciation; it is from the open air that the angel approaches the Virgin, who is enthroned in a chapel-like building. The upper outlines of the chapel are set off by the contrast of the brown mountain which looms up behind the building. On the left luxuriant vegetation stretches up towards the sky, where a half length figure of God the Father appears surrounded by a golden mandorla. Narrow bands of white cloud form a rhythmically repeated pattern on the sky around him. The building looks as if it were made of some rigid fabric, for its column is like a thick cluster of cables, decorated with recurrent multicoloured motifs. The bottom edge is a fluctuating line, as if the ground were creeping up the wall. This may be a stylized version of the hillside to be seen beside Broederlam's pavilion. As though to counter-balance the luxuriant vegetation on the left side, the floor of the chapel is covered with a mosaic of amazing variety. There are no duplicates among the geometrical forms, which alternate with stylized foliate motifs. The natural surroundings are also luxuriantly decorative: plants of different kinds will spring from the same stock. However, it is not only with the abundance of forms of trees, leaves and flowers that the forest astonishes us, but with its sense of magic and mystery. The trunks of the trees with their vibrant lines, the flowers, which resemble stars, and the clusters of leaves are illuminated by shimmering lights. The same vegetation that is resplendent in bright colours in front of the building and on the left side of the tapestry, darkens behind the angel on the right creating, as if by magic, a mysterious, nocturnal darkness around the heavenly messenger, a darkness out of which only a few stylized foliate forms shine forth. The rigid stems apparontly have no connection with the petals (for example between the wings and the back of the angel). This vegetation has marked affinities with the foliate forms in the so-called Paris Apocalypse, a work also produced in the Low Countries, where the same motifs again produce a most expressive effect. , Artist: UNKNOWN MASTER, Flemish , The Annunciation , 1401-1450 , Flemish , painting , religious
Painting ID:: 64183
258 x 222 cm Museum voor Schone Kunsten, Ghent Rubens was not the only influential artist in the Low Countries in the 17th century. A significant number of artists clung on to the principles of realism, while also embracing the dramatic lighting effects of Caravaggio. One among them was Jan Janssens. His Annunciation is a pure example of Caravaggism characterized by simple, sharply outlined shapes and strong, theatrical lighting effects. , Artist: JANSSENS, Jan , The Annunciation , 1601-1650 , Flemish , painting , religious
Painting ID:: 64260
1430 Wood, 140 x 169 cm Museu Nacional d'Art de Catalunya, Barcelona The anonymous Castilian painter who in the first half of the fifteenth century painted this Annunciation was probably more of a craftsman than an artist. Certainly he had not assimilated the pictorial innovations already evident in Italy and north of the Alps. The work reveals an independence in the treatment which calls to mind the way in which the peasant craftsmen of Eastern Europe freely adapted acknowledged styles to suit local tastes when they decorated some of the churches of the Carpathian Basin. This work owes a great deal to Gothic art, but the Castilian painter has given free rein to his love of ornamentation. The lack of perspective seems unimportant where there is such a decorative use of colour for the garments, and the vase with three lilies distracts us from the clumsy proportions of the figure of Mary. , UNKNOWN MASTER, Spanish , The Annunciation , 1401-1450 , Spanish , painting , religious
Painting ID:: 65001
Date between 1502(1502) and 1503(1503)
Medium Deutsch: Öltempera auf Holz, auf Leinwand xbertragen.
English: Tempera grassa (egg-oil) on canvas.
Español: Óleo sobre lienzo.
Français : Tempera grassa (xmulsion x lxœuf et x lxhuile) sur bois transfxrxe sur toile.
Italiano: Tempera grassa su tavola trasportata su tela.
Dimensions Height: 27 cm (10.6 in). Width: 50 cm (19.7 in).
Painting ID:: 86060
Paulus Bor (Amersfoort, c. 1601 - Amersfoort, 10 August 1669) was a Dutch painter.
Bor was descended from a notable Catholic family. He made a study trip to Rome, where he was one of the founders of the Bentvueghels, taking the nickname Orlando. He returned in 1626 to Amersfoort and joined Jacob van Campen in the decoration of the palace Honselaarsdijk belonging to Frederik Hendrik. In 1656, he became regent of the godshuis "De Armen de Poth" in Amersfoort.
Bor's style of painting was rather at odds with that of contemporary painters from Utrecht. He initially painted rather Caravaggisti-like history paintings, but his works fast became marked by a classicism related to that of his townsman van Campen. Through unusual compositions and primitive technique, his paintings depict strange and mysterious subjects.
The Annunciation first half of 17th century
Medium oil on canvas
Dimensions Height: 198 cm (78 in). Width: 152 cm (59.8 in).