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Foreground left, the Virgin's sewing basket containing scissors and thread. Right, the Archangel shows the sole of his foot to the viewer

The Annunciation to the Virgin. Engraving by Hendrik Goltzius, 1594.

Bible. N.T. Luke 1.26-35. The attitudes and postures of the Virgin and the angel vary significantly in different represenations of the Annunciation. The Virgin's hand is usually active; sometimes she is intently studying, sometimes she is in a gesture of 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 the excessive 'familiarity' of religious art of the 15th century" (L. Réau, Iconographie de l'art chrétien, Presses Universitaires de France : Paris, 1957, vol. 2, book 2, pp. 178-187, particularly p. 182)
The angel Gabriel folds his arms; Mary lifts her veil

1 print : line engraving with etching ; border 40.2 x 27.3 cm

The Annunciation to the Virgin. Engraving by C. Cort after Titian.

Bible. N.T. Luke 1.26-35. The Virgin holds her hand to her left breast and rests her other hand upon the book. Behind the bed there lies a tomb, upon which rests a lamp, a book and two inscribed stone tablets. In the centre of the clouds is the sign for Jahweh
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)

1 print : line engraving ; platemark 20.2 x 25.6 cm

The Annunciation to the Virgin in her room. Engraving by C.J. Visscher (?).

Bible. N.T. Luke 1.26-35. A circle of cherubs spin around the Holy Spirit, which shoots its light into Mary's shoulder. The angel Gabriel kneels on a cloud. The Virgin is studiously reading and perhaps writing (there is an inkpot on the table); next to her stands an empty chair; her sewing instruments (from her days in the Temple) lie around her feet. On the other side of the court a chair stands against an exterior wall. On the other side of it rests an upturned pillar among the foliage
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)

The Virgin looks up at the announcing angel; cherubs spin in a circle around the Holy Spirit. Engraving after J. Callot (?).

The Virgin stands within an arch with the Christ Child, both crowned. Around the arch and on the wall to the sides are hearts, swaddled babies, crutches, legs, arms, etc. Left and right, figures of St Peter and Saint Paul. Below, an altar decorated with Salomonic columns, a crown, figures of Jesus Christ resurgent and crucified, and of the Annunciation

An altar, surmounted by a statue of the Virgin surrounded by votive offerings; in the foreground, sick or troubled people praying. Woodcut, 16--.

The Annunciation to the Virgin and the Incarnation of Jesus Christ. Print with letterpress.

1 print : etching ; platemark 16.8 x 26.7 cm

The annunciation to the Virgin. Etching.

Bible. N.T. Luke 1.26-35. The angel brings Mary two lilies. The light of the Holy Spirit shoots toward her brow. Next to her are a sewing basket, an apple and a game fowl, possibly a partridge. Over the balcony hangs a shawl
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 the excessive 'familiarity' of religious art of the 15th century" (Réau)
On Eve as a possible symbolic conduit for the apple and the sewing kit, see L. Réau, loc. cit.

1 print : etching ; platemark 28.7 x 45 cm

The angel Gabriel announces the birth of Jesus to Mary; the light of the Holy Spirit alights on her brow. Etching by V. Lefebvre, c. 1670, after Titian.

1 print : engraving ; platemark 25 x 27.4 cm

The Annunciation to the Virgin. Engraving by F.A. Ludy after J.F. Overbeck, 18--.

The Virgin sits at a prie-dieu sewing a cloth on a cushion. A book and a vase of lilies are before her

1 print : engraving ; image 25.7 x 21.1 cm

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The Annunciation to the Virgin. Engraving by Hendrik Goltzius, 1594.

The Annunciation to the Virgin. Engraving by C. Cort after Titian.

The Annunciation to the Virgin in her room. Engraving by C.J. Visscher (?).

The Virgin looks up at the announcing angel; cherubs spin in a circle around the Holy Spirit. Engraving after J. Callot (?).

An altar, surmounted by a statue of the Virgin surrounded by votive offerings; in the foreground, sick or troubled people praying. Woodcut, 16--.

The Annunciation to the Virgin and the Incarnation of Jesus Christ. Print with letterpress.

The annunciation to the Virgin. Etching.

The angel Gabriel announces the birth of Jesus to Mary; the light of the Holy Spirit alights on her brow. Etching by V. Lefebvre, c. 1670, after Titian.

The Annunciation to the Virgin. Engraving by F.A. Ludy after J.F. Overbeck, 18--.

God points to the Virgin and tells the angel Gabriel to go and announce to her the birth of Jesus Christ. Engraving by Jan Sadeler after F. Sustris.

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The Annunciation to the Virgin. Engraving by Hendrik Goltzius, 1594.

The Annunciation to the Virgin. Engraving by C. Cort after Titian.

The Annunciation to the Virgin in her room. Engraving by C.J. Visscher (?).

The Virgin looks up at the announcing angel; cherubs spin in a circle around the Holy Spirit. Engraving after J. Callot (?).

An altar, surmounted by a statue of the Virgin surrounded by votive offerings; in the foreground, sick or troubled people praying. Woodcut, 16--.

The Annunciation to the Virgin and the Incarnation of Jesus Christ. Print with letterpress.

The annunciation to the Virgin. Etching.

The angel Gabriel announces the birth of Jesus to Mary; the light of the Holy Spirit alights on her brow. Etching by V. Lefebvre, c. 1670, after Titian.

The Annunciation to the Virgin. Engraving by F.A. Ludy after J.F. Overbeck, 18--.

God points to the Virgin and tells the angel Gabriel to go and announce to her the birth of Jesus Christ. Engraving by Jan Sadeler after F. Sustris.

Stay in the know

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