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The work, in both size and style, has no similarities with any other contemporary painting in Italy. It can be compared instead to French illuminated manuscripts of that time, as well as to paintings from
Germany or England. His "northern European" style granted Martini a call from the papal court in
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The use of a Gothic line, plus such realistic elements as the book, the vase, the throne, the pavement in perspective, the realistic action of the two figures and their subtle nuances of character are a substantial detachment from the two-dimensionality typical of
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413:'s dove with the other. The dove is descending from heaven, from the center of the mandorla of eight angels above, about to enter the Virgin's right ear. In fact, along the path of the dove, viewers see Gabriel's utterance:
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At the sides, the two saints are separated from the central scene by two decorate twisting columns. The background, completely gilt, has a vase of lilies, an allegory of purity often associated with the Virgin Mary.
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Mary, sitting on a throne, is portrayed at the moment that she is startled out of her reading, reacting with a graceful and composed reluctance, looking with surprise at the celestial messenger. Her dress has an
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The date of the painting is given in a fragment of the original frame, now embedded in the 19th-century renovation. It lists the names of Simone
Martini and his brother-in-law Lippo Memmi (
304:. The artists' use of expensive lacquer, extensive gold leafing and the difficult to obtain lapis lazuli in the painting demonstrates the communal prestige of the commission.
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in the
Cathedral of Siena, and had been commissioned as part of a cycle of four altarpieces dedicated to the city's patron saints during 1330–1350. These included the
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painted in tempera and gold, with a central panel having double size. Considered
Martini's masterwork and one of the most outstanding works of
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classical manner was met with little interest by the Gothic culture of the area.
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305 cm × 265 cm (120 in × 104 in)
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symon martini et lippvs memmi de senis me pinxervnt anno domini mcccxxxiii
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The painting remained in the cathedral until 1799, when Grand Duke
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by Simone
Martini and Lippo Memmi in the Uffizi Gallery, Florence
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Saint Louis of
Toulouse Crowning His Brother Robert of Anjou
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The work is composed of a large central panel depicting the
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had it moved to
Florence in exchange of two canvasses by
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Cricco, Giorgio; Francesco Paolo Di
Teodoro (2004).
69:"Annunciation with Saint Margaret and Saint Ansanus"
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711:Annunciation with Saint Margaret and Saint Ansanus
703:Guidoriccio da Fogliano at the Siege of Montemassi
549:Harris, Beth; Zucker, Steven (November 20, 2011).
207:Annunciation with Saint Margaret and Saint Ansanus
135:Annunciation with Saint Margaret and Saint Ansanus
250:The painting originally decorated the altar of
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18:Annunciation with St. Margaret and St. Ansanus
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27:Painting by Simone Martini and Lippo Memmi
120:Learn how and when to remove this message
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58:adding citations to reliable sources
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538:Page at Florence museums website
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469:Lecture about Simone Martini's
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551:"Simone Martini, Annunciation"
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311:Detail of the central panel
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585:Fossi, Gloria (2004).
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616:High resolution image
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296:Duccio di Buoninsegna
612:at Wikimedia Commons
515:Itinerario nell'arte
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589:. Florence: Giunti.
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52:Please help
47:verification
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764:Lippo Memmi
743:(1313–1318)
726:(1334–1340)
716:Lippo Memmi
698:(1324–1328)
403:Virgin Mary
350:Description
216:Lippo Memmi
157:Lippo Memmi
780:Categories
492:References
411:Holy Ghost
333:Giottesque
181:Dimensions
110:April 2013
80:newspapers
796:Triptychs
682:(c. 1317)
663:Paintings
431:arabesque
282:), and a
760:(master)
618:via the
368:Jeremiah
284:Nativity
232:triptych
224:Florence
197:Florence
189:Location
751:Related
734:Chapels
718:; 1333)
399:Gabriel
372:Ezekiel
329:Avignon
268:), the
246:History
94:scholar
758:Giotto
714:(with
690:(1320)
674:(1315)
671:Maestà
587:Uffizi
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380:Daniel
376:Isaiah
301:Maestà
149:Artist
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407:Jesus
228:Italy
101:JSTOR
87:books
568:2016
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393:The
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