The Annunciation: Tracing the Artistic Impact of a simple Yes.

circa 1420 unknown Valencian Master Artist

From stain glass windows, mosaics, frescos to paintings, the Annunciation is one of the most prolific subjects of Late Middle Age and Renaissance Art and is notable in Art History as a vehicle for creative innovation. It’s place in religious art is probably second only to the Crucifixion or Madonna and Child.

The Annunciation not only revolutionised art but also the course of human history. It is the moment in which God reveals His plan for the salvation of mankind and it would require one simple "fiat"(yes) to make it all possible.

We can learn a lot from how artworks depict the Annunciation, they tell us about the true meaning of free will, the freedom to serve, to set aside our plans for our lives and trust in what God wants.

Our Lady is most often depicted kneeling and in prayer, when suddenly the angel Gabriel appears and shares a message that will change not only her life, but that of all mankind.

Depictions of this world changing event date as far back as the ancient Roman catacombs. Yet it was almost a millennium later that Europe would see an explosion of Annunciation artworks.

The Annunciation provided a platform of fundamental importance for the transition from Late Middle Age to Early Renaissance art. 14th century Annunciation artwork was most often found above Altars and in illuminated Manuscripts. Like many examples of symbolic imagery from the time, they contain many features that we would find rather odd by todays standards.

The Annunciation by Meister Bertram from the Grabower Altar of St. Peter's in Hamburg 1383

An example of this is an altar piece work from Hamburg that thankfully survived the iconoclasm of the reformation. In it we can see the entire Holy Trinity present.

All three working in unison (based on Mary’s Yes) to enact the incarnation. God the Father almost pushing God the Son Jesus, who is carrying a cross, down to earth. In front of both of them is God the Holy Spirit, taking the form of a white dove.

This Depiction is very unusual in that it depicts a “flying baby Jesus”. It does however contain many standard elements that would be incorporated into later works such as Our Lady kneeling or sitting down studying the scriptures and the written abbreviated transcription of the Archangels Gabriel’s words “Ave Maria Gratia Plena Dominus Tecum” (Hail Mary, full of Grace, the Lord is with You).

Fra Angelico was one of the most talented artists in all of Christendom, his 1440 depiction of the Annunciation is emblematic of Late Middle age/proto-Renaissance art. It was one of the most iconic and copied depictions of the Annunciation of the period and had a massive influence on later artworks

This wall fresco was commissioned by Cosimo de' Medici for the Convent of San Marco in Florence. The Medicis’ were one of the largest patrons of art in Europe and brought the best talent from around the continent to Florence.

His work is a prime example of the continuity between the Late Middle Ages and what we came to know as the Renaissance.

Artists like Giotto and Fra Angelico were at the forefront of developing modern three dimensional techniques in art. Above we can see how Fra Angelico uses the cloister arches to give the perspective of depth.

The Virgin Mary’s expression is one of surprise and bewilderment. In an age before universal literacy, artwork was the primary source of catechesis for the average person. It is not with words but with body language that the subjects express themselves. The Angel reassuring Mary, telling her “Do not be afraid”.

This revelation from Gabriel comes as a total surprise. Mary is an average young woman going about her everyday life when she is suddenly catapulted into divine providence. Most depictions of the annunciation show Mary reading the sacred scriptures (Old Testament), as she was thought my her mother St. Anne, when she is interrupted by the angelic messenger. The Llangattock Book of Hours from the mid 15th century conveys this specific cultural context in which she lives.

The Annunciation, c. 1450s, from The Llangattock Hours Manuscript

This aesthetic of this depiction however is based not in 1st Century Holy Land but rather contemporary 15th century Europe.

A Gothic arch is seen in her home and she reads not from a scroll parchment but rather from an illuminated manuscript, similar to the one on which the image itself would have been drawn.

This is by no means an attempt to isolate her from her roots but to make her relatable for the viewer. In the case of a Book of Hours the viewer would of been highly educated by the standards of the day.

This educated audience allows for more subtle symbolic imagery that would of been lost on other viewers such as the blue and white traditional liturgical garment hanging in the background behind the angel and the Madonna lily flowers, a traditional symbol of purity, placed between Gabriel and Our Lady .

In the latter half of the 15th century the Annunciation was the primary platform for the expression of artist talent and established a structured format for experimentation and comparison of diverse emerging artistic styles. The Annunciation in this way became a vehicle for artistic innovation.

It is therefore notable that Leonardo da Vici’s first completed artwork was his own interpretation of the Annunciation in 1473.

In the distant background one can see a small lakeside alpine town with medieval perimeter walls. Ships, guided by an isolated lighthouse, approach the town’s harbour, thus providing movement and a sense of average everyday life.

Mary’s feminine hands can be seen turning a page and giving a cautious wave to the greeting angel. It is in the expression of subtle body language and folds of the silk garments that Da Vinci’s true talent shines. The attention to life like detail distinguishes his work from previous artists. The viewer is able to place himself there as a spectator and the gap between art and reality is dramatically eliminated.

Da Vinci shows the Arch Angel Gabriel genuflecting on the right knee before Our Lady. Traditionally in the West, one genuflects on the left knee for praiseworthy human authority (such as a Queen or King) and on the right knee for that which is sacred (such as the Holy Eucharist).

Carlo Crivelli The Virgin Annunciate, 1482

Many people viewing Annunciation artwork think of Mary’s role as one of passivity. They cite how Mary does not seek out any special status in God’s plan for mankind but is rather called upon. One however could also see her part as one of active trust and humble service.

In a very human way she struggles to understand and she asks questions, but rather than argue with Gods messenger she there and then declares her faith in His judgement.

This radical act of self giving being quoted down the ages in Luke’s Gospel and the Angelus: “Ecce ancilla Domini. Fiat mihi secundum verbum tuum.” “(Behold the handmaid of the Lord. Be it done unto me according to Thy word.)”

Her sacred Fiat (Yes) paved the way for the incarnation, as the Angelus proceeds; “Et Verbum caro factum est. Et habitavit in nobis.” (And the Word was made flesh. And dwelt among us.)

The descent of the Holy Spirit is particularly well portrayed by the late 15th Century Master Botticelli. In his 1490 Annunciation we see not only three dimensional perspective but dynamic movement.

The Holy Spirit burst through a wall, passing an advancing angel Gabriel and directly to Our Lady, who is humbly bowing to receive the incarnation.

Artistic depictions of the Annunciation took on a newfound importance in the context of a wider revival of Marian art in response to the protestant reformation.

Annunciation by Federico Barocci, 1596 — *Annunciation* by Federico Barocci, 1596

Barocci is a good example of post council of Trent Marian art. He is in many ways a bridge between the concluding Renaissance and emerging Baroque era.

Through the window of his 1596 Annunciation we see the nearby Duke of Urbino’s Palace in the distance. A strong message about the relevance of the Annunciation not only in a certain time and place (1st Century Holy Land) but rather for all time and all cultures.

This transition is defined by the rise of Mannerism. Mannerism was a brief push in late 16th, early 17th century, building on the Late Renaissance, that pursued extreme, almost artificial, elegance and asymmetrical proportions.

Just like in renaissance art, in Barocci’s and El Greco’s work we find rich colour. However upon closer inspection we can see how they also introduce slight distortions of human proportions and play with our sense of depth perspective.

There is a clear rejection of the Renaissance mathematical approach of calculated proportions. They rather sought to add drama and tension by playing with these established principles. This results in an exaggerated softer, more rounded feminine beauty.

Annunciation is a 1609 work by El Greco,

El Greco would take this mannerism to an extreme and while keeping the bright colour scheme so typical of the Renaissance, he abandoned the pursuit of attention to life like detail, instead developing his trademark abstract style.

Mannerism introduced an element of drama into painting that would be further developed by the Baroque artist like Rubens. Heavenly imagery such as Cherubim would be part of this divine drama that would persist until the Neo-classical period. These baby angel like creatures descend from praising the throne of the Almighty down to earth accompanying the Holy Spirit.

From Barocci to Rubens we can see how artists sought to blend the divine and the mundane. An example of this is the common motif of the sleeping cat in the corner of Annunciation paintings.

Both use this simple cat as a method to convey both the ordinariness of everyday life and the gentle elegance at which the Archangel Gabriel approaches Our Lady, so gentle in fact that the house cat isn’t even awoken.

Rubens Annunciation 1628 — Rubens *Annunciation* 1628

Peter Rubens is one of, if not the best known Baroque era painters. He builds on the mannerism of the previous century and continues to juxtapose the divine and mundane.

Typical for the time we see increased anatomical detail of the subjects, use of mysterious cloud and smoke, better use of light and shadow and even reflections in glass.

Hovering above Mary’s head we again see cherubim, descending from heaven, dropping roses on her. Just as the rose is the queen of flowers, Mary is the Queen of Heaven.

To understand this symbolism one needs first to understand the inter linking context of Marian titles. In this case Rubens is highlighting her titles as Regina caeli and Rosa Mystica. Rubens as a strong practising Catholic himself, would have been well familiar with these titles from the Litany of Loreto.

Rubens stays within the continuity of previous works in his symbolic use of the colour blue, however, throughout the Baroque period we see less use of blue and red combination and more blue and white clothing for Mary.

Giovanni Battista Tiepolo - Annunciation 1725

During this period there was an effort by protestant would-be reformers in Northern Europe to challenge the Dogma of the Perpetual virginity of Mary. White was considered the colour of purity and influential art critics in the Church like Francisco Pacheco promoted its use in Marian art throughout the 17th century to reenforce this aspect of Mary’s life.

Depictions of the Annunciation decrease in frequency throughout the 18th century and leave behind no major lasting mark on the development of the genre.

That being said there are works of significance stemming from the Neo-Classical period such as Tiepolo’s 1725 Annunciation. Painted in the Rococo style of the era, it is merely an extension of Baroque theatrical and ornate extravagance.

This movement would peak in the 18th century, an era marked by artist and political appreciation of so-call “enlightened” Neo-Classicism. It features open plan settings complete with doric, corinthian and ionic columns, flowing garments, smudged colours and figures with soft rounded facial features.

This movement in secular art was often associated with decadence and moral vice. Many aspects of the philosophical and political enlightenment promoted universalism, religious indifference and egalitarianism. This naturally brought it into conflict with the Church. In the wake of a bloody French Revolution and a series of Napoleonic wars the artistic movement which the enlightenment had spawned was tarnished by it’s ideological forbearers poor reputation.

It was in this context of the ashes of a Europe torn apart by wars of oppression, injustice and enmity (all ironically in the name of “Liberty, Equality and Fraternity”), that Romanticism arose as a direct counter narrative to the Enlightenment. The application of the principles of German Romanticism to bible depictions gave rise to the Nazarene movement.

Julius Schnorr von Carolsfeld - Annunciation 1818

Here in Julius Schnorr von Carolsfeld’s Annunciation from 1818 we can see how 19th century Romantics sought to return to style of the Late Middle Ages.

The Nazarene movement grew out of a group of Viennese art students that moved to Rome and were later joined by other German speaking artists who rejected the superficial dramatised nature of post 15th century art.

They had a vision of a much more humble and genuine artistic style than their previous Baroque and neo-classical counterparts, seeking to archive a noble simplicity that nonetheless inspires the viewer.

The movement coincides with the Neo-Gothic revival. Similar to its sister movement in the field of architecture, it sought to achieve continuity with the Late Middle Ages and benefits greatly from technical innovations in artistic method in the intervening period.

For example we can clearly see the high quality attention to detail in the use of lighting and the texture of even the slightest most seemingly insignificant feature, down to the tiniest leaf. Such work was time intensive and demonstrative of the motivation which inspired the artists.

The genre paradoxically achieves a simultaneous authenticity and idealisation in the paintings’ setting. It is a clear break from the previous trend to that point of ever increasing ornate dramatic splendour.

Late 19th Century depiction of Annunciation by follower of Edward Burne-Jones

The Genre stands on its own right, but however cannot be separate from the context of the Middle Ages. Augustus Pugin summarisess this attitude well in saying; “I seek antiquity not novelty. I strive to revive not invent.”

Artists at the time began seeing once again their role as producing works for the glory or God and not self glory. Personal signatures are less notable and the names behind many works remain unknown.

The Annunciation 1914 by John William Waterhouse — *The Annunciation* 1914 by John William Waterhouse

The movement is above all about restoration, restoring that which over time was lost, namely a certain element of truth. A truth which had been lost by post Raphael generations of artists. This selfless pursuit of truth inspired the formation of the Pre-Raphaelite Brotherhood in 1848 in Britain.

John William Waterhouse, one of the most prolific producers of art in the early 20th century sought to apply the principles of the Pre-Raphaelite movement to produce a simultaneously idealised and more realist portrayal of the Annunciation.

His 1914 depiction is set in 1st century Holy Land as we can see from the scroll text on the lectern, architecture of her home, clay jars and the floor mat, yet the use of modern industrially produced violet and green pigments in the paint used add a distinct artistic style.

Later in the century even the new artistic styles of art deco and art nouveau, still in their infancy, were used to depict the Annunciation.

Mikhail Nesterov, Diptych, Annunciation, 1898,

Some of the most novel and eye-catching Annunciation artworks to date surprisingly come from late 19th early 20th Century Russia, like that of Mikhail Nesterov’s 1898 Annunciation.

Here the Virgin Mary wears a light blue and white attire, complete with gold leaf halo. The symbol features are standards for the genre. The Archangel Gabriel even carries a white Lilly flower and the Holy Spirit depends in the form of a white dove.

Yet the general style is not like anything preceding it in the genre. The application of the Nesterov’s Russian school of Symbolism to the Annunciation and other religious works would also inspire others like the Florentine artist Ezio Anichini

Anichini’s work was also adopted for embroidery art. Here we see Our Lady outdoors kneeling on a pillow. The blending of art nouveau and romanticised Late Middle Ages is very pleasing to the eye. The entire image has a feeling of gentleness. Gabriel is hovering above the ground and proceeds to softly place a hand on Mary’s forehead.

Most modern art historians use Erwin Panofsky’s three levels of meaning to analyse artworks. Firstly there is what one sees materially at first glance. In this case a shy woman kneeling and an approaching angel. Secondly there is the iconographical perspective, here our cultural heritage tell us that it is not just any women but the Virgin Mary and the Archangel Gabriel and thirdly the iconological perspective which is to ask what does the symbolism mean to us, how can we attempt to make sense of it?

Mary appears to shy away at first but then lowers her head to receive the Holy Spirit. We can find an answer to this question in the words of St. Josemaria’s:

“The Blessed Virgin, our teacher in all we do, shows us here that obedience to God is not servile, does not bypass our conscience. We should be inwardly moved to discover the “freedom of the children of God.””

Christ is Passing By, 173

The annunciation is above all a depiction of freedom. Of one woman’s free decision to answer in the affirmative to God’s plan for her life and freedom for all of mankind who benefit from this decision that leads to the Incarnation and ultimately the Crucifixion and Resurrection.

This moment does not belong in one moment or one culture but for all time and all peoples. It is in this spirit that cultures down the ages to today have sought to depict the annunciation.

Contemporary Annunciation Artwork by Lu Hongnian

Lu Hongnian’s 20th century Chinese depiction is one that stands out in the less competitive 20th century genre.

Mary is seen as a Chinese young lady and dressed as such. The kimono wearing Archangel presents her with the traditional white Lilly flower and the Holy Spirit descends as is customary.

The gospel is thus integrated into one’s own culture and the subject, Our Lady is made more relatable for that viewer.

While attempts to bring the Annunciation into the 20th century have however been less common, Malczewski’s 1923 Annunciation depicting the Virgin Mary as a contemporary Polish girl, is worthy of appreciation.

We see her with her arms crossed in front of her heart as she hears the news that she is to give birth to the Messiah.

We see her innocence and receptiveness in contrast to that of her counter part and ancestor Eve. Mary is in many ways the opposite of Eve, her Yes repairing the damage of Eve’s original No. Both born without original sin, both choosing very different paths.

St. Canices Catholic church in Kilkenny. Picture: Ian McKay

This supernatural reality can only be attempted to be depicted by mere human hands, but in that quest lies not only the path to our own understanding but appreciation of God’s wish that we come to seek Him, to know Him and to love Him.

This is what motivated the great artists in yesteryear and beyond. On page 16 of Pugin’s 1836 work “Contrasts” we read:

“It is only by community with the spirit of the past ages, as it is developed in the lives of the holy men of old, and in their wonderful monuments and works, that we can arrive at a just appreciation of the glories we have lost, or adopt the necessary means for their recovery. It is now, indeed, time too break the chains of Paganism which have enslaved the Christians of the last three centuries, and diverted the noblest powers of their minds, from the pursuit of truth to the reproduction of error. Almost all the researchers of modern antiquaries, schools of painting, national museums and collections, have only tended to corrupt taste and poison the intellect, by setting forth classic art as the summit of excellence, and substituting mere natural and sensual productions in the place of the mystical and divine.”

Pugin did not seek a segregation of the divine from the secular, or worse the infiltration of profane elements of the secular into the divine, but rather his goal was the sanctification of not only his work but all of that which surrounded him.

This movement was as much revolutionary as it was restorationist. In his early days he was a counter cultural fish swimming against the stream of established, respectable neo-classical thought. Overtime his work received the recognition it deserved. He not only designed the UK Houses of Parliament but also started a new artistic rival of 15th century art that can be seen throughout the British Isles today. The Annunciation window of St. Canices Catholic church in Kilkenny is a product of this revival and we are the better for it!

One might well say, what is the point of examining how the Annunciation was depicted down the ages. To which the answer is clear, throughout this small keyhole we can see an entire world of meaning. We can gain a glimpse of what previous generations believed and how they chose to express this belief. In the spirit of the 19th century father of modern Art History, University of Vienna professor Rudolf von Eitelberger, we must understand the art of generations past to inform the art of our own generation.

Niall Buckley

March 2020

Annunciation Window , St Mary's Church, Leake, North Yorkshire Picture: Dave Webster