drawing, tempera, painting
drawing
medieval
tempera
painting
figuration
oil painting
coloured pencil
history-painting
international-gothic
miniature
Dimensions 90 mm (height) x 59 mm (width) (bladmaal)
This small, anonymous painting depicts the Annunciation. Consider how the weight of religious doctrine shapes the scene. Mary is portrayed in a moment of divine intervention, one that alters the course of her life and, according to Christian theology, the history of humanity. The lack of a known artist is typical for the period, yet it prompts us to consider the countless unnamed individuals whose labor and creativity contributed to the artistic landscape of their time. Who were they, and what were their stories? The use of gold leaf speaks to the painting’s function within a sacred context, illuminating the divine nature of the event. The painting invites contemplation on the complex interplay between faith, gender, and power. How does this representation of Mary shape our understanding of femininity, agency, and submission within religious and cultural frameworks? How might it either reinforce traditional roles or offer possibilities for alternative narratives?
Comments
This small parchment sheet is painted on both sides. These miniature paintings were originally illustrations in religious texts. In this case possibly a prayer book illustrating a story about the Virgin Mary, who is the subject of both paintings. In one the Archangel Gabriel announces that she is to give birth to the Infant Jesus, and in the other she visits her relative Elisabeth. The work is a good example of how it is not always possible to identify the front (recto) and back (verso) of a work. Here both are equal, and equally valuable. It was not until the work entered the museum that one side was classified as recto, and the other as verso.
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