Artist tell - David's "The Annunciation"

"The Annunciation" by David is quite incredible! I sat for two hours, on the floor of the Met jotting notes, in order to fully appreciate the painting's message. I have truly been inspired with what I was able to see for myself, as well as consuming the various persons stopping to view such a masterpiece.

David is a great painter, he was born 1455 and died in 1523 and his work is "Netherlandish." "The Annunciation" is merely one part of an whole multi-storied polyptych. The medium is oil on wood and was originally commissioned in 1506, by Vincenzo Sauli; a wealthy banker and diplomat for the high alter of the Benedictine Abby Church of San Gerolamo Della Cervara, near Genoa. The ensemble created a synthesis of northern and Italian artistic modes. David achieved a rare equilibrium in the middle of detailed narrative and elevated exposition.

The Artists

To begin, "The Annunciation" is honestly two panels standing side by side, complimenting one another, with the activity of the Holy Spirit approaching Mary to impregnate her with the Christ child, straight through the gesture by the angel of annunciation. This is a common motif among many Renaissance artists, but David honestly captures the moment. The two paintings are an estimated 3' x 4' each, and are spaced well, at roughly 8" for full effect.

Artist tell - David's "The Annunciation"

The angel of annunciation stands alone on the left panel. He is Dressed in soft-toned, light blue, raiment that achieves a "flowing" activity about him. The roughly iridescent cape, of red and green color, is inscribed with Latin phrasing that disapPears within the folds and creases. Motion is achieved straight through the gesture of action, as the angel signals the dove, the Holy Spirit in the right panel, to coming the virgin.

Action is supplementary hinted at, by the bent knees, as seen straight through the clothing, as well as with very safe bet gestures from his hands. By creating a mood or anticipatory action, David lets the angel tell whoever is viewing the painting, that he captured that moment in time as he saw it happen. The gesture of command with the angel's right hand sets a triangular format in the middle of the two paintings. It connects them and allowed for me to ensue from one panel to the next. His left hand begins a secondary triangle, but with the expanding of a three sectioned golden scepter. The scepter is extended upward, toward the area in the middle of the paintings, and apPears to be pointing toward the heavens. The top of the scepter has a pointed crown at the top, with a spiral mid section, and ultimately a plane handgrip at the bottom.

The room itself is a modern setting for that time. It is of a straightforward organize with one double pained window and roughly no furniture items. The window itself is split into four wooden storm panels. The two lowest ones are concluded and locked, with a straightforward metal latch, but the top panes reveal a view upward into the heavens straight through lattice made of metal as well. Nothing recognizable can be seen straight through the glass, other than the soft tones of a blue sky with clouds. The upper storm doors open inward, invitingly towards the angel.

The flooring in both rooms is comprised of a type of small section tile that alternates in the middle of an roughly ivory tone, and is complimented by a soft rose colored alternation in the concentric pattern. Additionally, laid within the tiles, is other pattern also. The other pattern is set, (alternating), with a softer blue that the angel's raiment and a light shade of green. The tile lines, as with the thorough perspective of the pieces, head toward the top area in the middle of the paintings, following the line of the scepter. Although the story is supposed to be in the same room, David seems to have made the same room, in actuality, two cut off places. One note of importance is that in the right panel, the floor on which Mary is has a hole on lower left corner on the bottom. There is a stone barrier, or edging, that seems to allow for her disjunction from the dark void that is graphic straight through that hole. I feel that David is attempting to show that her disjunction is from the world below, and the annunciation is occurring on a higher plane than that of that same ungodly world.

The walls on each painting are primarily set with wooden panels, but the left portrait has bluish fresco-type cement topping it about halfway up. The blue of the cement is slightly darker than that of the angel's clothing, and allows again, for the angel to stand out from the painting, and out from the corner of the room itself. There is a Fireplace behind the angel, although he stands before it and blocks one's view, in order to break up the flatness of the wall.

The expression on the angel's face seems as if he is saying, even without words, that all will be fine; a sort of warmth emanating from within. Aiding the warmth, are two burgundy Pillows, lying over the bench along the wall. They apPear very soft and comfortable, as with the scene. In turn, they associate the left half of the dyad, with the right, by completing a line, (horizontal), over to the top of the small wooden table. On that table, is a bible supported by a third, smaller Pillow that sits before the Virgin. It's open to no particular page, but the former rendition of David's painting, such as Robert Campin's "Merode Altarpiece," would be consistent with the scene as written: The bible is whether open to or implied to the Annunciation. The pages are flapping randomly, and do not reflect any exact point in the book.

The main path of sight originates from the angel, then crossing to the right painting and focusing on the Holy Spirit, the dove, ultimately to the Virgin. The dove is positioned just off center and above Mary's head in the top of the scene. The flight-path of that bird leads the extreme destination to be with Mary. There is a golden radiation with a bluish hue surrounding the bird, from a source behind it. The Virgin has the same radiation emanating from behind her head also, but hers is not as brilliant, and lacks the bluish hue.

Mary's face appears somber, and quite maybe scared. Her hands lay crossed, open over her chest, as she kneels before the Bible. Her gaze stares right at whoever views this work, but it also stares past them as well. I feel, that the face can be drawn out from the scene further, by the Dress she wears. That Dress is a great and rich royal blue color, with a golden organize along its border. As with the angel's raiment, the drapery folds created on both figures, is comparable to those of Jan Van Eyck. They yield a depth and feel about them, as with all the fabrics in the paintings.

A white ivory-colored jar flags Mary's right side. Three white lilies stem from it. Those lilies are signifying the lucidity in the moment...the holiness. That holiness is added to with a soft red velvet bag lying before her, on the floor. There is a set of rosary without a crucifix spilling out toward Mary from that bag. Since the rosary is dedicated to Mary, I take it as a gift from God for her future role as the mother of the Christian savior, Jesus Christ. A circular path is achieved around the painting from those rosaries, to the dove, and back to the angel. It is a well-balanced portrayal.

Directly behind the Virgin, there is a bed covered in a dark blue cloth. The bedding derives from extensions of that cloth, originating from two tendrils above the view. They come down to engulf the bed all the way to the floor. Again, David's use of a slightly contrasting shade of blue allowed me to pull from the paintings, all the key elements. Blue is a common motif within "The Annunciation."

Light symmetry is also a factor of both panels. The left has a brighter appearance. I assume that since the proximity of the angel, in expanding to the open panels of the upper windows, the set of paintings reveals this dissimilarity in that manner. In the right panel, Mary is shrouded in a darker light. This darker appearance may be due to the fact that the Holy Spirit is the "light" for that room, in expanding to Mary's illumination from behind her head. Mary's illumination appears to be very secondary in the scene.

As I said earlier, perspective lines are implemented to give depth to the work. The only failure that David attained was the lowest shelf on the table, under the bible. That shelf is out of perspective. It took awhile to pick that out though. Aside from that one discrepancy, all elements within the rooms are set beautifully to a multi-point perspective. The main line of sight heads toward the center area in the middle of the paintings in a 45-degree pyramidal direction, from the tiles.

David's other paintings from this polyptych are masterpieces such as "The Rest on the Flight into Egypt," "The Crucifixion," "The Nativity," and, "Virgin with Child and Four Angels." I got to see them all. Each one drew my concentration away from the Met, and into the scenes. I have truly grown from my visit and will return to this newfound treasure of the arts.

Bibliography

1. Art History: Revised edition; Volume 2; Marilyn Stokstad; Harry N. Abrams Inc, Publishing 1999
2. The Metropolitan Museum of Art; Gerard David "The Annunciation"
3. Fa18 @ Suffolk County community College; 2000

Artist tell - David's "The Annunciation"

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