The annunciation of the prado is currently considered one of the first masterpieces of its author. Iconographically it is a traditional work whose central panel shows the cycle of loss (adam and eve expelled from paradise) and salvation of man (annunciation of mary), while the five panels of the predella illustrate as many episodes in the life of the virgin. However, in the visual representation of these themes fra angelico demonstrated knowledge of the transformations that were taking place in tuscan art. Thus, the thoroughness in the representation of flowers and objects derives from gentile da fabriano, also responsible for the desire to unify space through architecture; while the attempt at spatial depth of the camera virginis refers to what masolino and masaccio had done in the brancacci chapel. Likewise, the structure that houses the annunciation was one of the first to follow the recommendation given in 1425 by brunelleschi for the altarpieces of san lorenzo, which should be square and without ornaments. All of this cannot make us forget that we are dealing with an early work that, as such, reveals the hesitations of its author, perceptible in the poor use of perspective and the poor knowledge of anatomy (text extracted from falomir, m. : italian renaissance painting. Guide, museo del prado, 1999, p. 32). Object Type: painting, altarpiece, predella. Genre: religious art. Date: between 1425 and 1428. Place of creation: Italy. Dimensions: 194 × 194 cm (76.3 × 76.3 in). Medium: tempera on board. Depicted People: Virgin Mary, Gabriel. Collection: Museo del Prado. La Anunciación, de Fra Angelico
Loading...
