Created on January 9, 2019
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Leonarda da Vinci
The kneeling angel is magnificently youthful with his high forehead, stylized wings, rich clothing, and lily.
The fine details of the emblems on the table appear to have been positioned based on golden proportions of the width of the table.
The maid sits at a table in front of an open book, she was surprised by the visit when reading the Holy Bible. The blue coat symbolizes her role in heaven. In the painting, we can see the artist's passion for the natural world, the fascination with evening light and the shifting.
The mother of the future savior has an exceptionally beautiful face, and beyond, the knee system and thick folds of the garments give the form a majestic shape. Mary listens to the messenger thoughtfully. Her face radiates serenity and wisdom. The left hand is frozen in a gesture of hesitation or maybe a greeting.
Leonardo uses here perspective with single vanishing point, VP in the image. The perspective is mostly correct, but there are also small errors. The perspective of the Virgin Mary is not entirely correct: the right forearm of Mary doesn’t seem to be in the correct position.
The picture painted in 1472-75. This is the first picture of the artist. Oil and tempera on poplar.The image is dimensions 98 × 217 cm. It is housed in the Uffizi gallery of Florence.
The Virgin, surprised while reading, raises her hand in a gesture of astonishment, and displays a fine-featured face which some have described as cold. Her pose, with knees evenly spread and covered with broad and supple drapery, gives her a strong monumental character.
It is the early picture of Leonardo, in which the strong influence of the teacher of artist Verrocchio is visible. The picture was painted in accordance with the principles of linear and air perspective. The predominant in the painting, the calm color of green and blues, is contrasted with the dominant feature of the red dress, which echoes in Gabriel's cloak and pink flowers on the lawn.
The artist puts the characters in the foreground, the second plan is architecture, in the depths we see the Italian landscape.
The scenery of the events is a walled garden. Mary is presented in a sitting position in front of the house, whose architectural style refers to the Renaissance era. Some imperfections appear in the right part of the image. Mary's right arm is too long, and its spatial position relative to the desktop is opaque. These features allow one to suppose that this is one of the earliest works of the painter.
The events in the picture seem to be taking place next door. The presence of everyday objects and the way of constructing architecture deepen this impression. The meeting of Mary and Gabriel the Archangel was told through non-verbal language. The angel in a kneeling position raises his hand in a gesture of greeting and sends a message. The white lily in the left hand of the angel is the symbol of the Immaculate Conception of Mary. Mary, raising her hand, expresses her welcome and joy.
In the painting the quoins have a direct relevance for its perspective structure. If continued, theirhorizontal lines converge in a vanishing point in the painting’s background.
The most impressive architectural details in the wall structure are the massive quoinsrendered in dressed ashlar or marble that defines the dimension of the wall.
It is a convincing example because of the significance behind the lines that delineate the golden ratio, the most important of which is the vertical that overlaps the corner of the Virgin Mary's olive green residence, separating her space from that of the angel Gabriel.
We can see that in “The Annuciation” the brick wall of the courtyard is in golden ratio proportion to the top and bottom of the painting.