HISTORY OF ART: themes, images and commentary: Simone MARTINI. The Annunciation

Van Leo et Akram Zaatrai Montaje

Van Leo et Akram Zaatrai Montaje

In the center the scene of the Annunciation unfolds on the axis of symmetry a vase with white lilies symbol of purity and virginity, on top a dove symbol of the Holy Spirit / b>; to the left the archangel Gabriel whose golden garments resemble the background, gold as a symbol of pure and divine light, with broad wings presents an olive branch, symbol of peace, while to our right Mary sitting on a throne tour surprised by a humble gesture and demure the head as it intersects the Bible, with the hand in the passage of Isaiah that predicts the coming of the Messiah.

It has Byzantine influence:

' golden backgrounds symbols of divinity

- importance of drawing that outlines with black inks the outlines

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- - In the angel, especially in the wings, and the Virgin dominate curvilinear and sinuous strokes

- Rich chromatism with strong colors like the blue of Mary or the rosy angel.

- Attempt to move in the folds of the Virgin and in the mantle of Gabriel.

Cooking vegetables
I usually buy the ones that are only hydrated, because I think they are just as rich the cannelloni and its preparation is faster. We put them in the tray, until we have done all, and then we throw over an abundant layer of bechamel, that covers well.

- Attempt to get the depth in the vase with lilies. >

The Trecento is a century of development of commerce and bourgeoisie in some cities of Italy. In this century XIII appear two different schools: Siena and Florence.

The Sienese school in which Duccio and Simone Martini stand out is characterized by delicate drawing and colors creating a sweet, elegant style that will influence the so-called Italian style and especially in the international style

Religious function to be altar table

MAESTÁ OF THE CITY OF SIENA .

However, the same Duccio in "Three women before the Sepulcher" (Mary Magdalene, Mary the mother of Christ and Mary Salome) which is part of the back of the altarpiece of Madonna Rucellai presents the same golden background of influence Byzantine but one observes the presence of a landscape and a certain sense of the compositional balance ; the three women in vertical corresponds with the mounds of the bottom, while the angel that has triangular composition corresponds with the mountain of the bottom; the diagonal of the gravestone is balanced with the diagonal of the mountain although the position and drawing of the gravestone do not have a correct perspective because it seems that it will slide the angel Finally the three women seem scared by the presence of the element of interest by the expression.