Alessandro Allori
Alessandro Allori
The Annunciation
The Annunciation
The cooperation between the two painters is evident in two important Florentine sites: the first being the Salone dei Dugento (Hall of the Two Hundred) in Palazzo Vecchio, which spanned the period from 1549 to 1553; and the second being the Chapel of Saint Luke (otherwise known as the Artists’ Chapel) in the convent of Santissima Annunziata, work on which lasted from 1567 to 1571. In the latter case, the two painters worked together on the fresco depicting the Holy Trinity, in which Allori, in homage to his teacher, painted an effigy of Bronzino. Bronzino passed away on 23 November 1572, with his caring pupil at his side until his very dying breath. As a sign of his indissoluble spiritual tie with his teacher, Allori was to sign his works: “Bronzini alumnus”, “Alessandro del Bronzino”; and after Bronzino’s death, he signed them “Alessandro Bronzino-Allori”, and handed down the same name to his own son, Cristofano, also a painter.
The cooperation between the two painters is evident in two important Florentine sites: the first being the Salone dei Dugento (Hall of the Two Hundred) in Palazzo Vecchio, which spanned the period from 1549 to 1553; and the second being the Chapel of Saint Luke (otherwise known as the Artists’ Chapel) in the convent of Santissima Annunziata, work on which lasted from 1567 to 1571. In the latter case, the two painters worked together on the fresco depicting the Holy Trinity, in which Allori, in homage to his teacher, painted an effigy of Bronzino. Bronzino passed away on 23 November 1572, with his caring pupil at his side until his very dying breath. As a sign of his indissoluble spiritual tie with his teacher, Allori was to sign his works: “Bronzini alumnus”, “Alessandro del Bronzino”; and after Bronzino’s death, he signed them “Alessandro Bronzino-Allori”, and handed down the same name to his own son, Cristofano, also a painter.
100 x 140 cm
Date: 1591
Medium: oil on wood
Medium: oil on wood
Date: 1591
Medium: oil on wood
Medium: oil on wood
Introduction
Introduction
This painting on wood depicts the scene of the Annunciation based on the Gospel according to Luke: the angel announces to Mary that she is to bear the Son of God. The domestic setting is characterised by specific features indicating a room reserved for women’s work.
This painting on wood depicts the scene of the Annunciation based on the Gospel according to Luke: the angel announces to Mary that she is to bear the Son of God. The domestic setting is characterised by specific features indicating a room reserved for women’s work.
The Archangel Gabriel, kneeling on a cloud, comes into the room after negotiating the balustrade behind him. The heavenly messenger glows in appearance, his hands upturned indicating something behind him.
The Archangel Gabriel, kneeling on a cloud, comes into the room after negotiating the balustrade behind him. The heavenly messenger glows in appearance, his hands upturned indicating something behind him.
Partly concealed behind the angel, one can make out buildings and ancient ruins symbolising a time that is about to give way to new expectations of religious faith.
Partly concealed behind the angel, one can make out buildings and ancient ruins symbolising a time that is about to give way to new expectations of religious faith.
Almost at the opposite end, Mary turns to the angel with a surprised expression, jumping up suddenly in amazement and holding her hands up in the air.
Almost at the opposite end, Mary turns to the angel with a surprised expression, jumping up suddenly in amazement and holding her hands up in the air.
The small basket lying at her feet recalls the weaving work that was part of women’s lives in ancient times.
The small basket lying at her feet recalls the weaving work that was part of women’s lives in ancient times.
Behind the young woman, a large vase containing red and blue flowers together with a white lily, a sign of the purity of the Virgin Mary, rests on a table covered by a fine rug.
Behind the young woman, a large vase containing red and blue flowers together with a white lily, a sign of the purity of the Virgin Mary, rests on a table covered by a fine rug.
A lectern supports an open book showing an inscription by the prophet Jeremiah: “for the Lord hath created a new thing in the earth, A woman shall compass a man!”. These words have been critically interpreted as anticipating the incarnation of Christ.
A lectern supports an open book showing an inscription by the prophet Jeremiah: “for the Lord hath created a new thing in the earth, A woman shall compass a man!”. These words have been critically interpreted as anticipating the incarnation of Christ.
On the back wall, a wooden panel bears a verse from the Song of Songs: “I belong to my lover, his yearning is for me”, revealing the new alliance between heaven and earth that is achieved in the incarnation of Christ.
On the back wall, a wooden panel bears a verse from the Song of Songs: “I belong to my lover, his yearning is for me”, revealing the new alliance between heaven and earth that is achieved in the incarnation of Christ.
On the far right of the painting, a lectern holding a book projects the evangelical tale into the cultural context of the 16th century, a period in which noble women were gaining increasing intellectual independence thanks to greater educational opportunities that enabled some of them to hold their own in a male-dominated world.
On the far right of the painting, a lectern holding a book projects the evangelical tale into the cultural context of the 16th century, a period in which noble women were gaining increasing intellectual independence thanks to greater educational opportunities that enabled some of them to hold their own in a male-dominated world.