Painting ID:: 19197
Annunciation 1440-45, Mixed technique on wood, Hohe Domkirche St. Petrus und Maria, Cologne German Northern Renaissance Painter, ca.1400-1451
Italian Mannerist/Baroque Era Painter, ca.1535-1612
Painting ID:: 58227
Annunciation Annunciation (1592-96)
Oil on canvas, Santa Maria degli Angeli, Perugia. Italian Mannerist/Baroque Era Painter, ca.1535-1612
Painting ID:: 62348
Annunciation 24 x 18 cm Galleria Estense, Modena Probably soon after his arrival in Venice El Greco painted the Modena Triptych. Here he adapts Renaissance principles of representation to a small-scale triptych of a post-Byzantine design common in the Venetian empire. As the wings of the triptych are opened in succession, the sequence of images reveals the state of Man before the Fall to his restoration to a state of Grace through Christ. The scene of The Annunciation is the left panel on the back of the triptych. The Modena Triptych strikingly illustrates El Greco's transition from post-Byzantine icon painter to European artist of the Latin variety. The portable altarpiece, whose unknown patron perhaps stemmed from a Creto-Venetian family, in its open state shows a total of six scenes: on the front, the central panel bears a rare depiction of the Coronation of the Christian Knight, and on the wings we find the Adoration of the Shepherds on the left and the Baptism of Christ on the right. On the reverse, a View of Mount Sinai with its famous convent of St Catherine is flanked by an Annunciation and an Admonition of Adam and Eve by God the Father. This type of object with its gilded frame elements was common in Cretan workshops of the 16th century, as is its use of wood as a painting support. Author: GRECO, El Title: Annunciation , 1551-1600 , Spanish Form: painting , religious
Painting ID:: 62403
Annunciation 1486-90 Fresco Cappella Tornabuoni, Santa Maria Novella, Florence At the height of the Presentation of the Virgin and the Marriage of Mary - above the corner of the chapel and connecting with the rear wall next to the Gothic window - there is the narrow fresco the Annunciation. Again Ghirlandaio has moved the scene of this biblical event to Tuscany and his own era. He was able to find the traditional Renaissance form of a painted window with a view of a landscape in many Florentine palaces. They can still be seen today in Florence, examples being the palaces of the Medici, Ruccelai and Strozzi families. The angel is derived from the Annunciation painted by the young Leonardo da Vinci between 1472 and 1475, now on view in the Galleria degli Uffizi. In contrast to Leonardo's horizontal format, in Ghirlandaio's fresco in the predetermined vertical format his Virgin may be depicted facing the observer in an equally frontal view, but she is standing upright. She is therefore reminiscent of the beautiful picture on the same theme by Lorenzo di Credi, an artist who was also taught by Verrocchio together with Leonardo and Ghirlandaio
Painting ID:: 62407
Annunciation 1482 Fresco Loggia del Comune, Collegiata, San Gimignano It was supposedly Bastiano Mainardi, using the design of his brother-in-law, Domenico Ghirlandaio, who painted this fresco of Annunciation about 1482 in his native town of San Gimignano. This is largely a poor imitation of Leonardo's famous Annunciation. Only the lectern, the details of which are reminiscent of Flemish still-lifes, shows originality. The detail shows the left side of the fresco depcting the Angel. Author: MAINARDI, Bastiano Title: Annunciation (detail) , 1451-1500 , Italian Form: painting , religious Italian High Renaissance Painter, 1460-1513
Painting ID:: 62999
Annunciation 1489-90 Mosaic Porta della Mandorla, Duomo, Florence In addition to the fresco in the Tornabuoni Chapel, Ghirlandaio created another Annunciation between 1489 and 1490 using the ancient mosaic technique, which he had learnt from Alessio Baldovinetti and which he had been able to employ when restoring a few old mosaics. There is no lectern in this mosaic version of the Annunciation, though the influence of Leonardo's painting is still felt, particularly in the spatial arrangement - a building on the left behind Mary and a view over a wall to a landscape. Above the Porta della Mandorla on Florence Cathedral there still exists this mosaic. Vasari wrote the following comment on it: "Domenico enriched the modern art of working in mosaic infinitely more than any other Tuscan, as his works, though few, amply demonstrate...". Of this mosaic destined for the Porta della Mandorla Domenico only executed the cartoon, which was probably translated into mosaic by his brother David. Artist: GHIRLANDAIO, Domenico Painting Title: Annunciation , 1451-1500 Painting Style: Italian , , religious
Painting ID:: 63085
Annunciation 1436 Oil on wood, 39 x 24 cm Thyssen-Bornemisza Collection, Madrid The panel depicting in grisaille the Angel of the Annunciation is one of the wings of a small portable diptych. The other wing representing the Virgin Annunciate is in the same museum. Artist: EYCK, Jan van Painting Title: Annunciation , 1401-1450 Painting Style: Flemish , , religious
Painting ID:: 63086
Annunciation 1436 Oil on wood, 39 x 24 cm Thyssen-Bornemisza Collection, Madrid The panel depicting in grisaille the Virgin Annunciate is one of the wings of a small portable diptych. The other wing representing the Angel Annunciating is in the same museum. Artist: EYCK, Jan van Painting Title: Annunciation , 1401-1450 Painting Style: Flemish , , religious
Painting ID:: 63528
Annunciation 1485 Wood S. Maria sopra Minerva, Rome Antoniazzo executed this altarpiece for the Chapel of Annunciation in Santa Maria sopra Minerva, Rome. The painting was commissioned by Cardinal Juan de Torquemada who is seen on the painting as presenting three girls to the Virgin.Artist:ANTONIAZZO ROMANO Title: Annunciation Painted in 1451-1500 , Italian - - painting : religious
Painting ID:: 63590
Annunciation 1526 Pen drawing, 288 x 211 mm Mus?e Cond? ChantillyArtist:D?RER, Albrecht Title: Annunciation Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63946
Annunciation 1452 Wood, 85,5 x 54,8 cm Groeninge Museum, Bruges Petrus Christus belonged to the same generation as Van der Weyden, but was perhaps a little younger. He came to Bruges from North Brabant, possibly after completing his initial training in Haarlem. His style is strongly modelled on that of Van Eyck and so there is good reason for suspecting he was Jan's apprentice, even though he did not purchase free citizenship of Bruges until three years after his putative master's death. The two panels by Christus, the Annunciation and the Nativity were quite badly worn, but painstakingly restored. Both of them are signed and dated (1452) and were probably painted as part of a triptych or polyptych. They reveal Christus as a precise designer of space and moulder of volumes. The figures in the Annunciation resemble statues arranged in a geometrically constructed show-case. It is the first painting in the Netherlands with a correct central perspective. , Artist: CHRISTUS, Petrus , Annunciation , 1451-1500 , Flemish , painting , religious Netherlandish Northern Renaissance Painter, ca.1410-1473
Painting ID:: 64417
Annunciation 1794 Oil on canvas, 81 x 52 cm Bishop's Residence, Szombathely This study was executed for the fresco on the nave ceiling in the Cathedral of Szombathely. Artist:MAULBERTSCH, Franz Anton Title: Annunciation (study), 1751-1800, Austrian , painting , religious
Painting ID:: 76145
Annunciation Date between 1512(1512) and 1513(1513)
Medium Oil on wood
Dimensions Width: 184 cm (72.4 in). Height: 183 cm (72 in).
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Painting ID:: 94640
Annunciation The Annunciation is a painting by the Italian late medieval painter Ambrogio Lorenzetti, signed and dated 1344, now housed in the Pinacoteca Nazionale of Siena, Italy
Painting ID:: 97134
Annunciation circa 1430(1430)
Medium oil on panel
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Robert Campin 1406-1444
Robert Campin Location
South Netherlandish painter. He is first mentioned in 1405-6 as a painter in Tournai. As he purchased citizenship there in 1410, he may have been born elsewhere. There is evidence of some connection with Valenciennes, where the name Campin is said to have been common, but nothing certain is known of his artistic training and background. Annunciation circa 1430(1430)
Medium oil on panel
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