The Annunciation

The Annunciation

A detailed look at the Crevelli version, with special emphasis on the use of perspective, and comment on what appears to be the intrusive appearance of the saint. Comparisons with the Alemanno and Duccio versions. Comments on the iconography.


Carlo Crevelli, L’Annunciazione di Ascoli or Annunciazione con sant’Emidios, 1486, oil on canvas, 207 x 147 cm, National Gallery, London, UK


Duccio di Buoninsegna, Annunciazione, 1308, tempora on canvas, National Gallery, London, UK


Pietro Alemanno, Annunciazione, 1484, 216 x 237 cm, Pinacoteca Civica, Ascoli Piceno, Italy


Robert Campin, Annunciation Triptych (Merode Altarpiece), 1432, oil on oak panel, 65 x 118 cm, Metropolitan Museum of Art, New York, NY, USA

The pictorial symbolism of Campin’s work and parallels with  the myth of Danaë and her impregnation by Zeus in the form of a shower of gold


Danaë and the Shower of Rain, c425 BC, terracotta krater, H23 cm, Musée du Louvre, Paris, France


Titian, Danaë with Nursemaid or Danäe Receiving the Golden Shower, 1565, oil on canvas, 129 x 180, Museo del Prado, Madrid, Spain


Artemisia Gentileschi, or perhaps her father, Orazio, , Danaë, 1612, Oil on copper, Art Museum, St Louis, OH, USA


Léon Francis Comerre, Danaë and the Shower of Rain, 1908, oil on canvas

KE & BT, 20 March 2018, Meeting No 13,

Later, another version of the Annunciation


Oleksandr Murashko, The Annunciation,1909, National Art Museum of Ukraine, Kyiv, Ukraine

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