Annunciation of the Blessed Virgin Mary free essay sample

Andrea della Robbia’s â€Å"Annunciation† The Annunciation acts as the frequent muse and subject for many Italian Renaissance artworks. The Annunciation refers to the pivotal moment when the Archangel Gabriel announces to the Virgin Mary that she will give birth to the Son of God, Jesus Christ. This narrative was first written in the book of Luke, Chapter 1, verses 26-38 of the New Testament. This subject in particular is so central because it is the beginning of what will become Christ’s entrance into the physical and spiritual world.The figures present in this narrative are paramount to the natural composition of the scene – two parallel figures (Mary and Gabriel) engaging in a spiritual discourse with the omnipresent God the Father often represented symbolically or hovering in the background. This being said, there are some Italian Renaissance artworks that break the mold while still staying true to the original Biblical narrative of the Annunciation. We will write a custom essay sample on Annunciation of the Blessed Virgin Mary or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page At the Los Angeles County Museum of Art, the Ahmanson Building, Room 314 is designated to Italian Renaissance painting and sculpture.Amongst the artworks is Andrea della Robbia’s installment of figures from his 1465 â€Å"Annunciation. † Originally a group of four consisting of the â€Å"Virgin†, â€Å"Angel Gabriel†, â€Å"God the Father†, and the â€Å"Dove of the Holy Spirit,† the LACMA currently only exhibits two: the â€Å"Virgin† and â€Å"Angel Gabriel. † Mary is a life-sized 56 inches tall and Gabriel, slightly taller, measures at approximately 62 inches. As a member of a well known artisanal family, della Robbia followed in the path of his father and uncle and commonly sculpted using terra-cotta which was popular during the Germanic and Italian Renaissance eras (Frederick 13. Terra-cotta was a preferred medium because it was less expensive, and easier to transport than marble sculptures being made at the time (Valenti ner 86-87. ) The process of working with terra-cotta was a more sensual one in that the artist’s hands made direct contact with the clay, allowing him the utmost precision. Unlike many artworks at the time, della Robbia’s figures stand alone with no background. This was extremely rare and adds to the tangible and realistic nature of the sculptures.When viewing the â€Å"Virgin† and â€Å"Angel Gabriel† for example, one cannot help but be struck by the duality of the composition – the figures stand alone yet compliment each other beautifully as a pair. One can only imagine that the same could be said for the entire composition when completed with the addition of â€Å"God the Father† and the â€Å"Dove of the Holy Spirit. † Each figure was given individual attention and can stand alone, yet della Robbia remained conscious of the Biblical narrative and kept some elements of its intended composition alive.This â€Å"separate but together† quality of the installation plays a large part in the emotional expressivity of the work. The viewer first recognizes the composition and traditional narrative as a whole and then moves on to contemplate each figure and his or her individual emotions in relation to the subject at hand. Abstractly speaking, the negative space between the â€Å"Virgin† and â€Å"Angel Gabriel† when placed side by side is one of supplemental uniformity. Mary’s body sways creating a curve that pushes outward toward the viewers right.Gabriel’s body curves in contrast to this line and subsequently creates a subtle balance and harmony between the pieces. This balance is pleasing to the viewer’s eye and therefore draws attention to the interaction between the two figures and acts as a mechanism that somehow unifies the installation without a real physical connectivity. The date in which della Robbia’s â€Å"Annunciation† was made is also of great importance. By 1465, Italian’s were nearing the beginning of High Renaissance (approximately 1475-1525,) and artists were moving further and further away from the traditions of the Gothic and Byzantine styles.This would account for the della Robbia’s realistic approach to his sculptur es. Notice, for instance, the drapery of the â€Å"Virgin. † Instead of the rhythmic draping characteristic of Gothic statuary and painting, the fabric seems to be linked to form of her body underneath (ie: the knee, the breasts, the waist, the shoulders. ) Her stance, undoubtedly contrapposto, intensifies these curves beneath the robe which falls with realistic weight and solidity, a technique entirely drawn from Roman sculpture at the time of antiquity.Just as Donatello’s â€Å"San George† statue appears to move outside of its niche (see attached Image C,) della Robbia’s â€Å"Virgin† shows signs of efforts to move the sculpture outside of the fictional realm and into reality. This attempt is exemplified by the deliberate dismissal of a background and the placing of Mary’s right foot in a forward position, slightly off its base. The â€Å"Angel Gabriel† has similarly realistic drapery, however his feet are not as solidly anchored to the ground as Mary’s are, a sign that he is perhaps floating as an intermediary between the earthly and spiritual worlds.By the mid-late Renaissance, artists were beginning to create more individualized and realistic physiognomies – a rebirth of the common practice of Classical Roman and Greek artists. Della Robbia’s â€Å"Virgin† is an excellent example of the individualized face. Instead of being a composite of features, Mary’s face is one of great realism, almost as though it was modeled after someone. Conversely, â€Å"Angel Gabriel† has a physiognomy that appears to be more symbolic and idealized as was typical of the Byzantine and Gothic eras.From this, one might deduce that della Robbia gave Mary more realistic features and Gabriel more stylized features in an attempt to continue the message that she is partly mortal and he is immortal and of the spiritual realm. Also, for this reason, Mary appears to the viewer to be more accessible and relatable. While so much of Andrea della Robbia’s â€Å"Annunciation† is progressive in terms of Renaissance ideals and practices, one characteristically Byzantine element remains: the flat golden disc that is Mary’s halo.Although the halo was used throughout Byzantine, Gothic, and even Renai ssance artworks, the two-dimensionality of this halo in particular is reminiscent of Byzantine halos often included in mosaics (Schiller. ) The halo for this piece in particular, acts as the only background to Mary’s foreground and symbolizes her otherworldly divinity. Interestingly, the halo is not flush against her head and perhaps symbolizes her earthly and holy qualities. When studying any art, it is important to acknowledge the context in which it was originally intended.This installation is not in its original context (there were intended to be four figures total) and therefore it is difficult to fully appreciate its intended effect. One is left to fill in the blanks and draw from what is present, in this case the two figures. Fortunately, the two figures on display at the LACMA are the ones central to the narrative. Ultimately, Andrea della Robbia was able to create a work of art that functions both independently and interdependently to illustrate a scene from the New Testament in his own unique way.