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Painting ID:: 18907
The Annunciation
1425-28, oil on panel, Metropolitan Museum of Art at New York.
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 Italian, active 1478-1501
Painting ID:: 9805
The Annunciation
, central panel of a triptych, undated, wood, Mus??e du Louvre, Paris.
Italian, active 1478-1501
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Painting ID:: 19099
The Annunciation
1857-58
Oil and pencil on canvas
Birmingham Museums and Art Gallery.
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Painting ID:: 28930
The Annunciation
mk65
Oil on panel
37 13/16x74 7/16in
Pitti,Palatine Gallery
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Florence ca 1425-1499
Painting ID:: 29747
The Annunciation
mk67
Tempera on panel
65 3/4x53 15/16in
Florence ca 1425-1499
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Italian High Renaissance Painter, ca.1458-1537
Painting ID:: 29766
The Annunciation
mk67
Oil on panel
34 5/8x27 15/169in
Uffizi,Gallery
Italian High Renaissance Painter, ca.1458-1537
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Painting ID:: 29896
The Annunciation
mk67
Oil on canvas
56 5/16x114 9/16in
Uffizi,Gallery
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Painting ID:: 31719
The annunciation
mk76
Painted c.1440
Tempera on panel
25 1/8x9 7/8in
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Italian Baroque Era Painter, 1567-1613
Painting ID:: 32512
The Annunciation
Oil on wood, 42,8 x 29 cm
Italian Baroque Era Painter, 1567-1613
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Painting ID:: 33345
The Annunciation
mk86
c.1410-1415
Tempera on wood
130x230cm
Florence,Galleria dell'Accademia
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Painting ID:: 33351
The Annunciation
mk86
c.1450
Fresco
216x321cm
Florence,Covent of San Marco
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Painting ID:: 51683
The Annunciation
nn09
late 1420
Gilded and polychromed pietra di macigno
165x108in
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Painting ID:: 51685
The Annunciation
nn09
detail of Panel with Nine Scenes from the Silver Chest of Saintssima Annunziata
c.1450
Tempera on wood
39x39cm
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Painting ID:: 51694
The Annunciation
nn09
1850
Oil on canvas
mounted on wood
72.6x41.3cm
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active in Liguria and Lombardy 1478-1501
Painting ID:: 51735
The Annunciation
nn09
wood
center panel of triptych
105x52cm
active in Liguria and Lombardy 1478-1501
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Painting ID:: 55931
The Annunciation
mk247
1432-34,tempera on panel,67x71 in,175x180 cm,museo diocesano,cortona,ltaly
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Painting ID:: 55935
The Annunciation
1430-40,oil on panel,30x27.5 in,76x70 cm,museo del prado,madrid,spain
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Painting ID:: 55957
The annunciation
1472-75,oil on panel,38.675x85.375 in,98x217 cm,uffizi,florence,ltaly
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Painting ID:: 62325
The Annunciation
128 x 83 cm Toledo Museum of Art, Toledo, Ohio The colour and ecstatic movement is of the utmost splendour and grace, appropriate to the presentation of this particular Mystery, one of El Greco's favourite themes. The painting is a later and simpler version of the subject painted for the Colegio de Do?a Maria, Madrid
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Painting ID:: 62332
The Annunciation
315 x 174 cm Museo del Prado, Madrid The "expressionist" stylistic traits, characteristic of El Greco's paintings at the end of the 1590s, are also found in the paintings of a retable El Greco created for the Augustinian college of Nuestra Se?ora de la Encarnacion in Madrid between 1596 and 1600. The patroness of the college, the lady-in-waiting Do?a Mar?a de Cordoba y Arag?n, had died back in 1593, implying that the commission likely came from her executor. The retable, like many other works in possession of the Church, was disassembled into its component parts during the French occupation of Spain. All we know from the surviving written sources is that El Greco supplied a total of seven paintings. This Annunciation in the Prado is one of these paintings, and it is an especially good example of the daring palette that characterizes the entire series. At the bottom of the canvas, the terrestrial world is barely indicated by the steps, sewing basket and rose-bush in flame. The flames are rendered so naturalistically that they probably have appeared to mirror the real candle flames burning on the altar during the celebration of the Mass. But above and beyond El Greco has distorted light, colour and form. Indeed,all the form are in a state of flux. the grand rhythm of the wings of Gabriel and the Holy Spirit quicken the drama. Garments of crystalline blue, crimson and yellow-green vibrate against the blue-grey void. Incandescent light is reflected off the figures with such intensity that each seems to be its own source of light
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Painting ID:: 62333
The Annunciation
1596-1600 Oil on canvas Museo del Prado, Madrid Author: GRECO, El Title: The Annunciation (detail) , 1551-1600 , Spanish Form: painting , religious
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Painting ID:: 62334
The Annunciation
114 x 67 cm Thyssen-Bornemisza Collection, Madrid This painting is a remarkably fine reduced replica of one of El Greco's most haunting images, the Annunciation in the Prado, Madrid, that is almost three times as large. The Prado Annunciation formed the centre of the elaborate altarpiece commissioned from the artist in 1596 for the Colegio de Do?a Mar?a de Arag?n. El Greco's habit of making reduced replicas is amply documented. It is common knowledge that El Greco kept smaller, preliminary versions of almost all his works at home to show to his customers, and that he considered them finished, definitive works in themselves. Author: GRECO, El Title: The Annunciation , 1551-1600 , Spanish Form: painting , religious
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Painting ID:: 62439
The Annunciation
62 x 47 cm The Hermitage, St. Petersburg Albani painted many versions of this subject. One of the best is the large altarpiece in the church of San Bartolomeo in Bologna, to which this painting is closely related. Author: ALBANI, Francesco Title: The Annunciation , 1601-1650 , Italian Form: painting , religious
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Painting ID:: 63539
The Annunciation
1340 Fresco Collegiate, San Gimignano The picture shows the upper scene of the fresco cycle.Artist:BARNA DA SIENA Title: The Annunciation Painted in 1301-1350 , Italian - - painting : religious
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Painting ID:: 64183
The Annunciation
1410s Woollen tapestry, 345 X 290 cm The Cloisters Collection, Metropolitan Museum of Art, New York Tapestries provided a very suitable medium for the stylistic expression of the International Gothic art. While, in general, tapestry weaving attempted to solve the same problems as those raised by painting, the opposite can be observed in the period about 1400: it was then in fact painters who endeavoured to achieve effects like tapestry by the homogeneous texture of their pictures, which were made up from tiny, dense and decoratively stylized repeated elements. It is a characteristic feature of the International Gothic style to endeavour to make the various motifs appear to be of the same quality, and to give them the fluid lines of textiles. These endeavours felicitously made use of the possibilities offered by tapestry-weaving. In general terms the composition follows that of Broederlam's Annunciation; it is from the open air that the angel approaches the Virgin, who is enthroned in a chapel-like building. The upper outlines of the chapel are set off by the contrast of the brown mountain which looms up behind the building. On the left luxuriant vegetation stretches up towards the sky, where a half length figure of God the Father appears surrounded by a golden mandorla. Narrow bands of white cloud form a rhythmically repeated pattern on the sky around him. The building looks as if it were made of some rigid fabric, for its column is like a thick cluster of cables, decorated with recurrent multicoloured motifs. The bottom edge is a fluctuating line, as if the ground were creeping up the wall. This may be a stylized version of the hillside to be seen beside Broederlam's pavilion. As though to counter-balance the luxuriant vegetation on the left side, the floor of the chapel is covered with a mosaic of amazing variety. There are no duplicates among the geometrical forms, which alternate with stylized foliate motifs. The natural surroundings are also luxuriantly decorative: plants of different kinds will spring from the same stock. However, it is not only with the abundance of forms of trees, leaves and flowers that the forest astonishes us, but with its sense of magic and mystery. The trunks of the trees with their vibrant lines, the flowers, which resemble stars, and the clusters of leaves are illuminated by shimmering lights. The same vegetation that is resplendent in bright colours in front of the building and on the left side of the tapestry, darkens behind the angel on the right creating, as if by magic, a mysterious, nocturnal darkness around the heavenly messenger, a darkness out of which only a few stylized foliate forms shine forth. The rigid stems apparontly have no connection with the petals (for example between the wings and the back of the angel). This vegetation has marked affinities with the foliate forms in the so-called Paris Apocalypse, a work also produced in the Low Countries, where the same motifs again produce a most expressive effect. , Artist: UNKNOWN MASTER, Flemish , The Annunciation , 1401-1450 , Flemish , painting , religious
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Painting ID:: 64260
The Annunciation
258 x 222 cm Museum voor Schone Kunsten, Ghent Rubens was not the only influential artist in the Low Countries in the 17th century. A significant number of artists clung on to the principles of realism, while also embracing the dramatic lighting effects of Caravaggio. One among them was Jan Janssens. His Annunciation is a pure example of Caravaggism characterized by simple, sharply outlined shapes and strong, theatrical lighting effects. , Artist: JANSSENS, Jan , The Annunciation , 1601-1650 , Flemish , painting , religious
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Painting ID:: 65001
The Annunciation
1430 Wood, 140 x 169 cm Museu Nacional d'Art de Catalunya, Barcelona The anonymous Castilian painter who in the first half of the fifteenth century painted this Annunciation was probably more of a craftsman than an artist. Certainly he had not assimilated the pictorial innovations already evident in Italy and north of the Alps. The work reveals an independence in the treatment which calls to mind the way in which the peasant craftsmen of Eastern Europe freely adapted acknowledged styles to suit local tastes when they decorated some of the churches of the Carpathian Basin. This work owes a great deal to Gothic art, but the Castilian painter has given free rein to his love of ornamentation. The lack of perspective seems unimportant where there is such a decorative use of colour for the garments, and the vase with three lilies distracts us from the clumsy proportions of the figure of Mary. , UNKNOWN MASTER, Spanish , The Annunciation , 1401-1450 , Spanish , painting , religious
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Painting ID:: 79184
The Annunciation
"The Annunciation" by Geronimo Lucenti da Correggio
Painting, Oil on copperplate, 67x51 cm
First quarter of the 17th century
cjr
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Italian, active 1445-1484
Painting ID:: 83258
The Annunciation
Date ca. 1448(1448)
Medium tempera and Oil on wood
cjr
Italian, active 1445-1484
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Painting ID:: 83383
The Annunciation
1555(1555)
Medium Oil on canvas
Dimensions Height: 99 cm (39 in). Width: 134 cm (52.8 in).
cyf
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Painting ID:: 84549
The Annunciation
Date ca. 1605(1605)
Medium Oil on wood
Dimensions Height: 42.8 cm (16.9 in). Width: 29 cm (11.4 in).
cjr
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Painting ID:: 84587
The Annunciation
Date between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cjr
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Painting ID:: 84588
The Annunciation
Date between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cjr
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Painting ID:: 84589
The Annunciation
Date between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cjr
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Painting ID:: 84591
The Annunciation
Date between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cjr
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Painting ID:: 86060
The annunciation
Date between 1502(1502) and 1503(1503)
Medium Deutsch: Öltempera auf Holz, auf Leinwand xbertragen.
English: Tempera grassa (egg-oil) on canvas.
Español: Óleo sobre lienzo.
Français : Tempera grassa (xmulsion x lxœuf et x lxhuile) sur bois transfxrxe sur toile.
Italiano: Tempera grassa su tavola trasportata su tela.
Dimensions Height: 27 cm (10.6 in). Width: 50 cm (19.7 in).
cjr
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Painting ID:: 86825
The Annunciation
1570(1570)
Medium Oil on canvas mounted on panel
Dimensions 26 x 20 cm (10.2 x 7.9 in)
cyf
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Painting ID:: 86827
The Annunciation
Date between 1467(1467) and 1468(1468)
Medium Tempera, oil and gold on panel
Dimensions Height: 50 cm (19.7 in). Width: 48 cm (18.9 in).
cjr
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Painting ID:: 86828
The Annunciation
Date 1504(1504)
Medium Oil and tempera on canvas
Dimensions Height: 130 cm (51.2 in). Width: 140 cm (55.1 in).
cjr
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Painting ID:: 87593
The Annunciation
Date c. 1445(1445)
Medium Oil on wood
Dimensions Height: 80 cm (31.5 in). Width: 56 cm (22 in).
cjr
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Painting ID:: 87628
The Annunciation
Date c. 1515(1515)
Medium Oil on wood
Dimensions Height: 269 cm (105.9 in). Width: 141 cm (55.5 in).
cjr
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Painting ID:: 88650
The Annunciation
between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cyf
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Painting ID:: 88651
The Annunciation
between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cyf
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Painting ID:: 88652
The Annunciation
between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cyf
Visit European Gallery
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Painting ID:: 88654
The Annunciation
between 1472(1472) and 1475(1475)
Medium Oil and tempera on wood
cyf
Visit European Gallery
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Italian, active 1445-1484
Painting ID:: 89113
The Annunciation
1448(1448)
Medium tempera and oil on wood
cyf
Italian, active 1445-1484
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Painting ID:: 89301
The Annunciation
1495(1495)
Medium Tempera and oil on canvas transferred from wood
cyf
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Painting ID:: 89721
The Annunciation
c. 1435(1435)
Medium Oil, transferred from wood to canvas
Dimensions Height: 93 cm (36.6 in). Width: 37 cm (14.6 in).
cjr
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