319:, it is told by Vasari that he was captured by barbarian pirates during his travels. Some did not believe this story, but when he returned to Florence, his paintings were famous. He was getting many commissions from the church and they would often lock him in dimly lit rooms to complete them. He eventually escaped, though he always owed a debt to the Carmelite Order. These feelings of having his freedom stripped by the church by locking him away may be portrayed in this paintings by having Gabriel not hand the branch, which according to
131:
261:
around their waists by a rope. Mary is wearing a darker grey garment with gold outlining and a light-colored headwear. She is looking down at
Gabriel and motioning her hand toward him. She might be reaching her hand out to receive the branch from him, though he doesn't appear to be extending it out to her. There is an object to the right of her which appears to be a placeholder for books or other text.
25:
283:
A white bird flying behind the angels is wearing a golden halo as well. It appears to be emitting golden rays from its beak towards
Gabriel and Mary. By Mary's feet is a cutout in the flooring just big enough for a vase of water to fit in it. The position of this vase creates a straight vertical line
279:
of small trees and one which is almost as tall as the buildings surrounding it. This tree is positioned in line with
Gabriel, who is standing directly in front of it. This may have been used to signify his importance and to make him a main subject, separating him from the other angels. The whole
260:
The other two angels are looking off into the distance and not at Mary. The one closest to the audience is looking directly at us, as if acknowledging our presence. They wear woven red socks which are a similar color to their outer garments. Under this red drape they wear light grey outfits tied
280:
courtyard exhibits symmetry in the rows of trees and buildings that are on either side. The cityscape continues on in the background with churches and tall buildings poking above the skyline. The churches can be noticed by their pointed tower tops which stand taller than the other buildings.
212:
This piece is about six feet by six feet. There is little known information about the painting's origin, although it is likely that it was originally commissioned for use in its current location. The dating (c. 1440) is based on the style and the presence of Saint
Nicholas in the
268:. Their robes are all shown with very exaggerated drapery and wrinkles, which gives this piece depth and adds movement to the figures. This is a style of painting clothing that was popular during this era of the Renaissance.
220:
The painting is considered the first known example of a squared altarpiece, without any traditional gothic decoration like pinnacles or cusps, in order to better match the simple architecture of the church, by
256:
with wings who have come to meet with Mary. Gabriel is in front of two other angels kneeling while they stand. He is holding a lily which is symbol of purity. The dove flying above is a symbol of holy spirit.
264:
They all have golden halos above their heads with teardrop-like patterns inside. These don't seem to be floating, but rather just placed on their heads somehow, without obeying laws of
578:
598:
646:
606:
217:
panels. The patron for this piece was notably Niccolò Martelli, a rich
Florentine citizen who supported the reconstruction of the basilica and other parts of town.
509:
622:
414:
228:
The panel is divided in two by a central column. It uses a geometrical perspective to show a complex architecture including several edifices and an open
275:
style. There are two arches on either side of the subjects, and we look in through the arches to see the scene. Behind the figures there seems to be a
546:
486:
446:
336:, edited by Edward I. Bleiberg, James Allan Evans, Kristen Mossler Figg, Philip M. Soergel and John Block Friedman. Vol. 4, 363–376. Detroit: Gale.
590:
438:
382:
705:
42:
700:
470:
554:
695:
638:
630:
406:
570:
175:
108:
89:
61:
430:
68:
46:
562:
494:
75:
375:
502:
57:
35:
614:
690:
368:
198:
522:
462:
478:
422:
299:
222:
272:
82:
130:
538:
194:
141:
233:
669:
530:
291:
in this painting, but the figures' faces aren't extremely realistic. Their bodies show
288:
684:
391:
320:
664:
583:
292:
24:
284:
with the palm of Mary's hand. This brings the viewer's attention back to Mary.
316:
323:
references symbolizes freedom, to Mary, despite her reaching out for it.
214:
202:
179:
167:
175 cm × 183 cm (69 in × 72 in)
265:
241:
276:
229:
253:
237:
206:
360:
364:
18:
298:
The three scenes in the predella are similar to those in the
209:. There are several paintings by Lippi of this same name.
350:. New Haven ; London : Yale University Press, c1999.
232:. There are several elements suggesting the influence of
197:
hung in the
Martelli Chapel in the left transept of the
287:
The buildings and architecture have a great level of
343:. Florence: Scala; New York, N.Y.: Riverside, c1989.
657:
599:
Stories of Saint
Stephen and Saint John the Baptist
398:
236:, by which Lippi was influenced during his stay in
171:
163:
155:
147:
137:
123:
49:. Unsourced material may be challenged and removed.
357:. Berkeley: University of California Press, c2009.
295:, however, which makes their stance more natural.
271:The architecture painted displays a very classic
244:in the foreground, symbolizing the Holy Spirit.
647:Triptych of the Madonna of Humility with Saints
376:
8:
332:"The Early Renaissance in Italy." 2005. In
383:
369:
361:
129:
120:
109:Learn how and when to remove this message
447:Madonna and Child with Angels and Saints
348:Fra Filippo Lippi: The Carmelite Painter
315:When Lippi was a member of the Order of
439:Penitent Saint Jerome with a Young Monk
339:Fossi, Gloria and Filippo Lippi. 1989.
355:Art of Renaissance Florence, 1400-1600
471:Annunciation with Two Kneeling Donors
7:
334:Arts and Humanities through the Eras
47:adding citations to reliable sources
631:Madonna of Palazzo Medici-Riccardi
14:
16:c. 1440 painting by Filippo Lippi
23:
34:needs additional citations for
252:In this piece there are three
1:
706:Paintings of the Annunciation
623:Adoration of the Christ Child
607:Adoration of the Christ Child
701:Paintings of the Virgin Mary
415:Enthroned Madonna and Child
722:
696:Paintings by Filippo Lippi
353:Partridge, Loren W. 2009.
240:. These include the glass
128:
618:(Florence; c. 1450–1465)
487:Coronation of the Virgin
410:(Florence; c. 1430–1435)
591:Funeral of Saint Jerome
199:Basilica di San Lorenzo
176:Basilica di San Lorenzo
58:"Martelli Annunciation"
558:(London; c. 1449–1459)
498:(Munich; c. 1443–1450)
670:Filippino Lippi (son)
626:(Prato; c. 1455–1466)
579:Adoration of the Magi
550:(Parma; c. 1450–1455)
523:Alessandri Altarpiece
515:Michael the Archangel
463:Marsuppini Coronation
455:Martelli Annunciation
346:Holmes, Megan. 1999.
582:(c. 1440–1460; with
506:(Rome; c. 1445–1450)
479:Novitiate Altarpiece
423:Barbadori Altarpiece
300:Barbadori Altarpiece
43:improve this article
511:Saint Anthony Abbot
311:Carmelite influence
273:Italian Renaissance
639:Life of the Virgin
434:(Milan; 1437–1439)
678:
677:
615:Madonna and Child
571:Mystical Nativity
547:Madonna and Child
539:Madonna del Ceppo
195:Fra Filippo Lippi
193:is a painting by
185:
184:
142:Fra Filippo Lippi
119:
118:
111:
93:
713:
385:
378:
371:
362:
234:Flemish painting
159:Tempera on panel
133:
121:
114:
107:
103:
100:
94:
92:
51:
27:
19:
721:
720:
716:
715:
714:
712:
711:
710:
681:
680:
679:
674:
653:
531:Bartolini Tondo
394:
389:
329:
313:
308:
250:
248:Visual analysis
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
719:
717:
709:
708:
703:
698:
693:
691:1440 paintings
683:
682:
676:
675:
673:
672:
667:
661:
659:
655:
654:
652:
651:
643:
635:
634:(c. 1466–1469)
627:
619:
611:
603:
595:
587:
575:
567:
566:(c. 1449–1459)
559:
551:
543:
542:(c. 1452–1453)
535:
527:
526:(c. 1440–1453)
519:
518:(c. 1445–1450)
507:
499:
491:
483:
482:(c. 1440–1445)
475:
467:
459:
451:
443:
435:
427:
419:
411:
402:
400:
396:
395:
390:
388:
387:
380:
373:
365:
359:
358:
351:
344:
337:
328:
325:
312:
309:
307:
304:
249:
246:
183:
182:
173:
169:
168:
165:
161:
160:
157:
153:
152:
149:
145:
144:
139:
135:
134:
126:
125:
117:
116:
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
718:
707:
704:
702:
699:
697:
694:
692:
689:
688:
686:
671:
668:
666:
663:
662:
660:
656:
649:
648:
644:
641:
640:
636:
633:
632:
628:
625:
624:
620:
617:
616:
612:
609:
608:
604:
601:
600:
596:
593:
592:
588:
585:
581:
580:
576:
573:
572:
568:
565:
564:
560:
557:
556:
552:
549:
548:
544:
541:
540:
536:
533:
532:
528:
525:
524:
520:
517:
516:
512:
508:
505:
504:
500:
497:
496:
492:
489:
488:
484:
481:
480:
476:
473:
472:
468:
465:
464:
460:
457:
456:
452:
449:
448:
444:
441:
440:
436:
433:
432:
428:
425:
424:
420:
417:
416:
412:
409:
408:
404:
403:
401:
397:
393:
392:Filippo Lippi
386:
381:
379:
374:
372:
367:
366:
363:
356:
352:
349:
345:
342:
341:Filippo Lippi
338:
335:
331:
330:
326:
324:
322:
321:Old Testament
318:
310:
305:
303:
302:, from 1438.
301:
296:
294:
290:
285:
281:
278:
274:
269:
267:
262:
258:
255:
247:
245:
243:
239:
235:
231:
226:
224:
218:
216:
210:
208:
204:
200:
196:
192:
191:
181:
177:
174:
170:
166:
162:
158:
154:
150:
146:
143:
140:
136:
132:
127:
122:
113:
110:
102:
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
665:Fra Angelico
645:
637:
629:
621:
613:
605:
597:
589:
584:Fra Angelico
577:
569:
563:Seven Saints
561:
555:Annunciation
553:
545:
537:
529:
521:
514:
510:
503:Annunciation
501:
495:Annunciation
493:
485:
477:
469:
466:(after 1444)
461:
454:
453:
445:
437:
429:
421:
413:
405:
354:
347:
340:
333:
314:
297:
293:contrapposto
286:
282:
270:
263:
259:
251:
227:
223:Brunelleschi
219:
211:
190:Annunciation
189:
188:
186:
124:Annunciation
105:
99:January 2018
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
642:(1466–1469)
602:(1452–1465)
594:(1452–1460)
534:(1452–1453)
490:(1441–1447)
474:(1440–1445)
685:Categories
327:References
317:Carmelites
164:Dimensions
69:newspapers
650:(c. 1470)
610:(c. 1463)
574:(c. 1459)
458:(c. 1440)
450:(c. 1440)
442:(c. 1439)
418:(c. 1437)
399:Paintings
306:Theories
215:predella
203:Florence
180:Florence
172:Location
658:Related
289:realism
266:gravity
242:ampulla
151:c. 1440
83:scholar
426:(1438)
277:garden
254:angels
230:loggia
156:Medium
138:Artist
85:
78:
71:
64:
56:
431:Pietà
407:Pietà
238:Padua
207:Italy
90:JSTOR
76:books
513:and
187:The
148:Year
62:news
45:by
687::
225:.
205:,
201:,
178:,
586:)
384:e
377:t
370:v
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
