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The Annunciation to the Virgin. Engraving by C. Bloemaert, c. 1650, after G. Lanfranco.

  • Lanfranco, Giovanni, 1582-1647.
Reference
21652i
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view The Annunciation to the Virgin. Engraving by C. Bloemaert, c. 1650, after G. Lanfranco.

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Credit: The Annunciation to the Virgin. Engraving by C. Bloemaert, c. 1650, after G. Lanfranco. Wellcome Collection. Public Domain Mark

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About this work

Description

Bible. N.T. Luke 1.26-35. The attitudes and postures of the Virgin and the angel have varied significantly and even interchanged in Christian iconography. The plethora of differing images of the Annunciation provides a real insight into the history of emotion and its representation in gesture. The variations of the Virgin's posture provide much of the interest. Her hand is usually active; sometimes she is intently studying, sometimes she is in a gesture of almost carnal surprise. She may be glorified, or on the other hand she may kneel. Then the angel varies in relation to her: he might kneel before her. After the Council of Trent, the angel was set in the air, "reacting against", as Réau suggests, "the excessive 'familiarity' of religious art of the 15th century". On these issues, see L. Réau, 'Iconographie de l'art chrétien'. Presses Universitaires de France : Paris, 1957, vol. 2, book 2, pp. 178-187 (particularly p. 182)

Publication/Creation

Rome (ad Templ. S.Ma. de Pace cu. priv. S.P.) : Io. Iacobi de Rubeis formis.

Physical description

1 print : line engraving ; platemark 43.1 x 31 cm

Lettering

Spiritus sanctus superveniet in te, et virtus altissimi obumbrabit tibi. Ecce ancilla domini, fiat mihi secundum verbum tuum. Eques. Io. Lanfranc pinxit. Cornelius Bloemaert sculpsit Romae superioru licentia. Cu. privil. S.C.M.tis et regis Christ.mi

Reference

Wellcome Library no. 21652i

Type/Technique

Languages

  • Latin


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