The Annunciation is a painting by the Italian Renaissance master Titian, executed between 1559 and 1564. It remains in the church of San Salvador in Venice, for which it was commissioned.
Originally three paintings were commissioned by the D'Anna family for their chapels in the church of San Salvador in Venice, northern Italy.[1] Only two out of the three remains in place in the church. The other pieces that were commissioned were a Transfiguration dated around 1560, as the altarpiece of the high altar, and a Crucifixion now in the Church of San Domenico, Ancona.[1] The painting depicts the scene when the Virgin Mary being told that she is carrying the child of God, called the Annunciation of the Virgin.
The lower figures are Mary (mother of Jesus) and Gabriel. Mary is in shown in a degree of shock but Titian using his colours brings out the sight of the angel. This is most evident in his handling of light. A heavenly light pours from an opening in the sky into the place of the Annunciation.[1]
There have been opinions on the different usage of colour in the painting from Giorgio Vasari to Charles Hope. Hope's opinion ”disliked use of the muddy colours, the physical types, the mannered pose of the Virgin or the badly drawn figure of Gabriel and the inept use of gesture”.[2] Hope's observation is an extension from Vasari's criticism. While Bohde explains that "muddy colours" and the physicality of the figures makes the composition of Titian's Annunciation so good.
Bohde says, "Titian’s painting ultimately deals with the transformation of the immaterial into the material, which is the core of the incarnation theme".[1] The figures itself explains the main theme of incarnation of God within the Virgin. This theme comes thought with the dove in the back that pours out amounts of light from the clouds. The figures are different from other versions of the story annunciation in other Venetian works Titian does not connect to the myth of the city of Venice founded on the day of Annunziata. As Bohde states "Titian merely connects the place of the Annunciation with the interior of San Salvador through the red and white tiled floor and the row of columns. But these features mainly serve to unify the pictorial and the real space, and are not significantly Venetian."[1]
The overwhelming size of the angel compared to the Virgin and the brush strokes being more expressive shows the theme of incarnation. Titian's way of depicting the Virgin showing the flesh is more full in her bosom.[1] Making the flesh of the virgin more evident, puts emphasis that Jesus was made from the Virgin's flesh.
^ abcdefBohde, D (2001). "Titian's Three-Altar Project in the Venetian Church of San Salvador: Strategies of Self-Representation by Members of the Scuola Grande Di San Rocco". Renaissance Studies. 15 (4): 450–472. doi:10.1111/1477-4658.00376. S2CID 191491795.
^Hope, Charles (1980). Titian. London. p. 141.{{cite book}}: CS1 maint: location missing publisher (link)
Bibliographyedit
Bohde, D. "Titian's Three-Altar Project in the Venetian Church of San Salvador: Strategies of Self-Representation by Members of the Scuola Grande Di San Rocco." Renaissance Studies 15, no. 4 (2001): 450–472.
Media related to Annunciation by Titian of Church of San Salvatore (Venice) at Wikimedia Commons
October 28, 2023
annunciation, church, salvador, annunciation, painting, italian, renaissance, master, titian, executed, between, 1559, 1564, remains, church, salvador, venice, which, commissioned, annunciationartisttitianyear1559, 1564mediumoil, canvasdimensions410, locationc. The Annunciation is a painting by the Italian Renaissance master Titian executed between 1559 and 1564 It remains in the church of San Salvador in Venice for which it was commissioned AnnunciationArtistTitianYear1559 1564MediumOil on canvasDimensions410 cm 240 cm 160 in 94 in LocationChurch of San Salvador VeniceOriginally three paintings were commissioned by the D Anna family for their chapels in the church of San Salvador in Venice northern Italy 1 Only two out of the three remains in place in the church The other pieces that were commissioned were a Transfiguration dated around 1560 as the altarpiece of the high altar and a Crucifixion now in the Church of San Domenico Ancona 1 The painting depicts the scene when the Virgin Mary being told that she is carrying the child of God called the Annunciation of the Virgin Contents 1 Composition 2 See also 3 References 4 Bibliography 5 External linksComposition editThe lower figures are Mary mother of Jesus and Gabriel Mary is in shown in a degree of shock but Titian using his colours brings out the sight of the angel This is most evident in his handling of light A heavenly light pours from an opening in the sky into the place of the Annunciation 1 There have been opinions on the different usage of colour in the painting from Giorgio Vasari to Charles Hope Hope s opinion disliked use of the muddy colours the physical types the mannered pose of the Virgin or the badly drawn figure of Gabriel and the inept use of gesture 2 Hope s observation is an extension from Vasari s criticism While Bohde explains that muddy colours and the physicality of the figures makes the composition of Titian s Annunciation so good Bohde says Titian s painting ultimately deals with the transformation of the immaterial into the material which is the core of the incarnation theme 1 The figures itself explains the main theme of incarnation of God within the Virgin This theme comes thought with the dove in the back that pours out amounts of light from the clouds The figures are different from other versions of the story annunciation in other Venetian works Titian does not connect to the myth of the city of Venice founded on the day of Annunziata As Bohde states Titian merely connects the place of the Annunciation with the interior of San Salvador through the red and white tiled floor and the row of columns But these features mainly serve to unify the pictorial and the real space and are not significantly Venetian 1 The overwhelming size of the angel compared to the Virgin and the brush strokes being more expressive shows the theme of incarnation Titian s way of depicting the Virgin showing the flesh is more full in her bosom 1 Making the flesh of the virgin more evident puts emphasis that Jesus was made from the Virgin s flesh See also editList of works by TitianReferences edit a b c d e f Bohde D 2001 Titian s Three Altar Project in the Venetian Church of San Salvador Strategies of Self Representation by Members of the Scuola Grande Di San Rocco Renaissance Studies 15 4 450 472 doi 10 1111 1477 4658 00376 S2CID 191491795 Hope Charles 1980 Titian London p 141 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link Bibliography editBohde D Titian s Three Altar Project in the Venetian Church of San Salvador Strategies of Self Representation by Members of the Scuola Grande Di San Rocco Renaissance Studies 15 no 4 2001 450 472 Hope Charles Titian London Jupiter Books 1980 External links edit nbsp Media related to Annunciation by Titian of Church of San Salvatore Venice at Wikimedia Commons Retrieved from https en wikipedia org w index php title Annunciation church of San Salvador amp oldid 1181166773, wikipedia, wiki, book, books, library,
