The work of the painter from Messina, among his most famous, is the crowning jewel of the collections at the Galleria Regionale della Sicilia – Palazzo Abatellis in Palermo.
This work, besides being breathtakingly beautiful, is famous for its extremely original representation; a true break from the classic iconography of the Annunciation.
The Italian Annunciation
The day of the Annunciation was set by the church nine months before Christmas, that is, March 25. The Annunciation is the dialogue between Mary and the angel Gabriel, who announces to her that, among all women, she has been chosen to give birth to the Son of God.
The iconography of the Annunciation features the two protagonists: Mary and the angel Gabriel.
Usually, the angel is positioned at a respectful distance from Mary and they are often separated by an architectural detail such as a column, a low wall, or a door. This distinction of spaces served as a device for painters to mark the transition from the divine space to the human one.
Mary is typically depicted inside a room or sheltered in a loggia, engaged in reading a book, a clear reference to the prayer and contemplation that have prepared her for the coming of God.
In the background, an opening (a window, a door, an arch, etc.) overlooks a flowering garden, symbolizing the lost paradise but above all the virginity of Mary; the so-called hortus conclusus.
In the famous Annunciation by Beato Angelico, the surface of the work is divided into three clearly distinct zones by architectural elements: the garden, the arch of the Angel, and the arch of the Virgin. This emphasizes three different temporal spaces.
In the upper left, a ray of divine light passes through the dove of the Holy Spirit and illuminates the Virgin, who submissively accepts her task.
In the background, the expulsion of Adam and Eve from Eden symbolizes the damnation of humanity that will be saved by the coming of Christ made possible by Mary’s acceptance.
The Symbolism of the Annunciation
Like every painting with a religious subject, the Annunciation adheres to well-defined codes, and the objects represented have a strong symbolic value: the lectern and the book are references to prayer; Mary wears a blue mantle symbolizing spirituality and contemplation. Meanwhile, the red of her robe symbolizes charity and alludes to the passion of Christ; the lily that often appears in Gabriel’s hand symbolizes purity, grace, and the virgin motherhood of Mary.
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Vittore Carpaccio, Annunciation, 1504 -
Giovanni Santi, Annunciation, 1489-1491
The Revolution of Antonello da Messina
The Annunciata by Antonello da Messina represents a true revolution both in iconography and in the way the figure of Mary is treated.
Unlike the more common Annunciations, the artist portrays Mary alone; or rather, seemingly alone.
The subtle breath of wind that ruffles the pages of the book resting on the lectern is indeed a sign of the arrival of the archangel who stirs the air around him.
Even though he is not depicted, one can sense the presence of the archangel Gabriel who, having come to announce the birth of Jesus, is right there in front of her: outside the composition, in the position where all of us who observe the painting find ourselves.
In Antonello da Messina’s work, we find only two of the typical objects of this type of representation: the book and the lectern. The cinematic framing leaves no room for anything else besides the youthful face of Mary, whom the artist depicts as a child bride.
“the most beautiful hand I know of in art”
Mary is caught off guard and frightened: her hand, extended forward, seems almost to block the angel’s message with a start of modest surprise but also of inquiry.
With that slight movement of her hand, it seems that Mary is telling the angel not to proceed further, as she was not prepared for this encounter.
We can only agree with Longhi when he stated that this small, slender hand was “the most beautiful hand I know of in art.”
By minimizing the presence of objects that reference the divine and focusing on the delicacy of the moment being narrated, Antonello da Messina has been the painter who most succeeded in overcoming the greatest challenge posed by painting: to represent the unpredictable, the invisible, namely the mystery of the incarnation.
This is a work that we at Artsupp particularly love, and we are proud to present it to you in high quality! You can indeed find it in the profile of Palazzo Abatellis, one of the 500 official partner museums of Artsupp. Just click on the image to admire it in high definition in all its splendor!
