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Duccio di Buoninsegna - Annunciation (1308-1311)

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Duccio di Buoninsegna - Annunciation (1308-1311)

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This painting is located on one of the lowest panels on the front of an altarpiece known as Maestà (meaning ‘Majesty’) which was made for the Siena Cathedral. This altarpiece is the only known surviving work from the artist  Duccio di Buoninsegna. In this painting Mary wears a blue robe representing her spirituality and holds the scriptures in her left hand representing her wisdom and devotion. Mary’s eyes are downcast in humility and acceptance. The Holy Spirit is depicted in the form of a tiny dove descending on a ray of light from the ceiling near the top left hand corner. When the altarpiece was completed it was paraded through the streets on its way to the Church as part of a festive procession for the Virgen Mary who was considered the city's protector.

Taleena Woodruff

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The Annunciation by Pietro Lorenzetti 1344

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The Annunciation by Pietro Lorenzetti 1344

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Melchior Broederlam, "Annunciation," c. 1393-1399 (Musée des Beaux-Arts, Dijon, France)

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Melchior Broederlam, "Annunciation," c. 1393-1399 (Musée des Beaux-Arts, Dijon, France)

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Melchior Broederlam's "Annunciation," is the left wing of the Dijon Altarpiece. The hall where the virgin Mary is sitting looks like Gothic architecture. She is seen surrounded by the typical symbols depicted in paintings of the annunciation. The book she is shown reading, the vase of lilies at the feet of the angel Gabriel, and the rich blue robe to symbolize her spirituality. This work of art utilizes what is called continuous narrative. To the right of the annunciation scene we see Mary and Elizabeth standing against a rocky mountainous landscape. Broederlam unifies the composition through the use of color, diagonal lines, and representation of divine light.

Jayme Wahlquist

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Jan van Eyck, "The Annunciation," c. 1434-1436 

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Jan van Eyck, "The Annunciation," c. 1434-1436 

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Jan van Eyck’s depiction of the annunciation is painted onto the cover of the Ghent altarpiece. The painting shows the Angel Gabriel on the left and the virgin Mary three panels to the right. The empty space between them suggests room for the coming Savior. The lilies in the angel’s hands symbolize Mary’s purity, sinlessness, and virginity. The dove above Mary symbolizes the Holy Spirit and the book next to her symbolizes her wisdom and virtue. The virgin Mary has her arms crossed and the words coming out of her mouth are written upside down and backwards as she speaks to the angel Gabriel and to God above. The words say, “Behold, the handmaiden of the Lord.”

Jayme Wahlquist

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Rogier van der Weyden - The Annunciation (1435)

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Rogier van der Weyden - The Annunciation (1435)

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Fra Angelico, "Annunciation," c. 1438-1446, San Marco Convent, Florence.

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Fra Angelico, "Annunciation," c. 1438-1446, San Marco Convent, Florence.

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Fra Angelico’s “Annunciation” was a significant piece in art history. Fra Angelico was a monk living in a monastery where he created this painting. The painting depicts the angel Gabriel kneeling before Mary who is sitting on a bench. They are sitting outside in a loggia and we can see enclosed gardens behind them. The closed garden is a symbol of Mary’s virginity. Both figures are depicted very idealistically and do not have a very concrete image so that the monks have the freedom to contemplate and imagine this scene on their own. He leaves out the vase of lilies and book that are often included in depictions of the annunciation to open up the possibility for imaginative contemplation.

Jayme Wahlquist

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The Annunciation about 1450–1455 Dieric Bouts (Netherlandish, about 1415 - 1475)

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The Annunciation about 1450–1455 Dieric Bouts (Netherlandish, about 1415 - 1475)

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In the historical context of the mid-15th century, Bouts' work emerged during the Northern Renaissance, characterized by a renewed interest in realism and individualism. The Annunciation was a popular subject, yet Bouts' treatment stands out for its naturalism and emotional depth. The delicate portrayal of Mary challenges traditional roles, offering a nuanced view of women beyond mere vessels for divine intervention. Bouts' work, in dialogue with other Annunciation pieces, exemplifies a dynamic period in art history and contributes to a broader understanding of societal perceptions of women during the era. The iconography, with Gabriel and Mary in prayer, reflects theological precision in capturing the moment of divine revelation.

Anna Orchard

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‘The Annunciation’ from the Saint Columba Altarpiece (c. 1455) by Rogier van der Weyden.

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‘The Annunciation’ from the Saint Columba Altarpiece (c. 1455) by Rogier van der Weyden.

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Historically, van der Weyden's piece reflects the Burgundian court's patronage and the artist's influence in the Northern Renaissance. Compared to Dieric Bouts' Annunciation, van der Weyden's rendition often features a more emotional and contemplative Mary, highlighting diverse interpretations within a shared subject matter. In the social context, the portrayal of Mary's emotional depth adds complexity to the perception of women, suggesting a recognition of their spiritual and emotional experiences.

In terms of iconography, the piece adheres to the traditional Annunciation scene, yet van der Weyden infuses it with a heightened sense of drama. The figures of Gabriel and Mary, surrounded by a richly decorated architectural setting, evoke a divine atmosphere. Placed within the Saint Columba Altarpiece, the work aligns with the religious context of the time, emphasizing the centrality of such scenes in Christian worship.

Anna Orchard

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Piero della Francesca, The Annunciation to Mary, c. 1455, fresco, San Francesco, Arezzo

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Piero della Francesca, The Annunciation to Mary, c. 1455, fresco, San Francesco, Arezzo

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Piero della Francesca’s “The Annunciation to Mary '' is a 1455 fresco that tells the story of the annunciation from the New Testament. The composition is split into four parts with God The Father in the left top corner; the golden rays from his hands originally had real gold. The Angel Gabriel, located below God The Father holds a palm frond instead of a lily which not only signifies Christ’s birth, but also the future death and compassion of Mary; it is known as the key to paradise that was lost after the original sin but returned after Mary’s death. The tapestry in the upper right hand corner passes through the hanging loop repeatedly symbolizing Mary’s unbroken virginity. Mary stands in the bottom right again with her blue robe representing her spirituality.

Taleena Woodruff

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The Annunciation - by Leonardo Da Vinci (1472-1476)

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The Annunciation - by Leonardo Da Vinci (1472-1476)

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The Annunciation, Hans Memling, Netherlandish, 1480-89

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The Annunciation, Hans Memling, Netherlandish, 1480-89

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Carlo Crivelli, The Annunciation with Saint Emidius, 1486

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Carlo Crivelli, The Annunciation with Saint Emidius, 1486

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Crivelli was a late Gothic artist who mixed historical and biblical stories with modern circumstances. This painting includes a patron saint of a town that had just been given self government, this is Saint Emidius who is standing to the right of the angel Gabriel. The Virgin Mary is seen in a room by herself as she receives the message of the annunciation. She is portrayed reading and praying, something that would have been encouraged for all people to do on a daily basis, and Mary gives this reminder to anyone who sees the painting. Crivelli used perspective lines throughout his work to really show that there is a lot more than just the scene at the front of the painting. He also uses architectural knowledge in how he gives depth to not just the buildings but to the painting itself, showing a sort of ledge at the bottom of the painting that makes it feel as though the viewer could easily step over the edge and into the painting itself. The bright golds and reds are commonly seen in this period and the artist adds to that by painting tapestries that would normally be seen in Italy as well where the artist was currently based.

Megan Peterson

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The Cestello Annunciation (1489) by Sandro Botticelli.

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The Cestello Annunciation (1489) by Sandro Botticelli.

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Historically, the piece emerges in the context of the Italian Renaissance, a period of revival of classical ideals and humanism. Botticelli's contribution to this famous subject matter is evident in his combination of classical with Christian subject matter.

Ichnographically, Botticelli's Annunciation introduces a unique twist by placing Mary in an enclosed garden, symbolizing her purity and the enclosed nature of the Virgin. The symbolism extends to the lilies and orange blossoms, representing Mary's purity and the impending incarnation of Christ. The composition, with the archangel Gabriel and the Virgin Mary in a harmonious and graceful exchange, reflects a serene balance. The portrayal of Mary as a contemplative figure aligns with the idealization of women as virtuous and contemplative, reflecting societal norms of the time.

Anna Orchard

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"The Annunciation" Raphael (Raffaello Sanzio Da Urbino) 1502-1504. 

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"The Annunciation" Raphael (Raffaello Sanzio Da Urbino) 1502-1504. 

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Raphael's "The Annunciation" (1502-1504) shows High Renaissance brilliance, blending the composition with idealized beauty. Formally, Raphael's precision in proportions, naturalism, and a subdued color palette defines the work. Ichnographically, the grand arch and Mary's held book add symbolic depth to the traditional scene. Positioned in the High Renaissance, the piece resonates with classical ideals and humanism.

Compared to other Annunciation works, Raphael's stands out for its grace and serene spirituality. Mary's composed demeanor and the angel's gentle descent capture divine grace with timeless elegance. Socially, Raphael's portrayal aligns with Renaissance ideals, presenting Mary as the embodiment of virtuous femininity and humility.

Anna Orchard

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Gerard David, “The Annunciation” c. 1506

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Gerard David, “The Annunciation” c. 1506

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Gerard David’s “The Annunciation” uses color to tell a specific narrative. The rich, deep blue symbolizes spirituality. The painting depicts the angel Gabriel with large blue wings and a long blue robe holding a scepter. The virgin Mary is seen with her arms crossed reading a book which symbolizes her wisdom and virtue. The dove above her head appears to be glowing in the dark room descending towards Mary. The dove symbolizes the Holy Spirit that will rest upon Mary. Another common symbol depicted in paintings of the annunciation is a vase or bunch of lilies. These represent Mary’s virginity and purity despite being pregnant.

Jayme Wahlquist

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Albrecht Altdorfer, "The Annunciation," c. 1520, Alte Pinakothek, Munich.

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Albrecht Altdorfer, "The Annunciation," c. 1520, Alte Pinakothek, Munich.

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Titian's "Annunciation" (1522) marks a shift toward Mannerism, displaying the approach to form and composition. Formally, Titian paints diagonal lines, rich colors, and dramatic lighting, departing from the balance of the High Renaissance. Ichnographically, the interaction between the angel and Mary shows a emotional and spiritual conversation, which is very different from what had been done before.

Historically, Titian's work emerges in the context of the evolving Mannerist style. In comparison to earlier Annunciation artworks, Titian's version is marked a departure from idealized beauty.

Socially, the heightened emotion in Mary's expression challenges traditional expectations, offering a nuanced portrayal of the emotional complexity of divine revelation. Titian's "Annunciation" thus reflects both the evolving artistic trends of the time and a departure from conventional social norms in the portrayal of women.

Anna Orchard

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Italian Renaissance master Titian, created this piece simply titled “The Annunciation between 1559 and 1564. It was originally commissioned by the D’Anna family for their chapel in the church of San Salvador in Venice, Italy where it remains to this day. It is one of only two out of the three pieces Titan was commissioned for that 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. The painting depicts the Virgin Mary and the archangel Gabriel. Mary is not wearing a blue cloak but wares a blue skirt instead to signify her spirituality.

Taleena Woodruff

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El Greco, "Annunciation," c. 1576-1577, Art Institute of Chicago.

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El Greco, "Annunciation," c. 1576-1577, Art Institute of Chicago.

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Peter Paul Rubens, "Annunciation,"  1610-1628, 

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Peter Paul Rubens, "Annunciation,"  1610-1628, 

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Peter Paul Rubens started working on his painting "Annunciation" after visiting Italy,, and was highly influenced by the great painters of the Renaissance. Mary on the right is wearing the blue cloak symbolizing her spirituality., She's in a pose as if she was just praying. Peter Rubens uses Mary's poses as well as the poses of the Angel Gabriel, the Holy Spirit as the Dove and the cherubs to keep the piece from feeling static, and invite the viewer in, it's almost like you are really there. The Virgen Mary's pose and the scriptures on the table next symbolize her wisdom and devotion. To symbolize the homeliness of the scene Mary’s sewing basket with her sleeping cat is placed in the bottom right corner.

Taleena Woodruff

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Francisco de Zurbarán, "Annunciation," c. 1638, National Gallery, London.

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Francisco de Zurbarán, "Annunciation," c. 1638, National Gallery, London.

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Francisco de Zurbaran’s depiction of the annunciation contains many of the well known symbols that are typically painted in depictions of the annunciation. Mary is seen sitting at a desk reading a book, we see her wearing a deep blue robe and a vase of lilies can be seen peeking out behind her. A dove representing the Holy Spirit descends from Heaven and what initially seems to be clouds up by the ceiling is actually dozens of cherub heads grouped together watching the scene unfold. The angel Gabriel kneels before Mary with his arms crossed and he appears to be glowing, he does not cast a shadow instead, he casts light onto the floor in front of him.

Jayme Wahlquist

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Bartolomé Esteban Murillo, "Annunciation," c. 1655-1660

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Bartolomé Esteban Murillo, "Annunciation," c. 1655-1660

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Murillo painted with oil on canvas to depict the virgin Mary being visited by the angel Gabriel. A lot of iconography is used in this painting. The dove symbolizes the holy ghost, the basket on the floor is used to represent Mary’s status and her hard work. The book on the table is likely a Bible, and shows her devotion to God, and the lilies beside the book represent Mary’s purity. We also see cherubs, which would be praising the news of Christ’s Annunciation. Murillo uses extreme dark colors contrasted with bright pastels to really emphasize the scene being portrayed. He also balanced the painting very well too: the dove is at the center, the angel and Mary are almost exactly parallel to each other, and the angels are balanced by the items around Mary.

Megan Peterson

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Jean-Baptiste Jouvenet - The Annunciation (1716)

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Jean-Baptiste Jouvenet - The Annunciation (1716)

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Dante Gabriel Rossetti, Ecce Ancilla Domini, 1849-50.

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Dante Gabriel Rossetti, Ecce Ancilla Domini, 1849-50.

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Rossetti was an artist at the end of the Romantic period and part of a group that started their own movement, called the Pre-Raphaelite movement. This group specifically looked back towards the early renaissance for inspiration, which drew them apart from many other artists at the time who were starting to move into the impressionist period. Rossetti used very few colors to fully bring attention to the purity and holiness of the angel and of Mary. Both are clothed in white and have blue behind them, colors which signify the presence of Heaven. The lilies that are held by Gabriel are common symbols attributed to Mary and show her purity. Mary is specifically modeled after Rossetti’s own sister, who left school to follow a spiritual calling. This painting didn’t originally sell well, particularly because of the lack of atmospheric depth and perspective which were common elements used in paintings at the time.

Megan Peterson

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The Annunciation, 1887, George Hitchcock, American, 1850–1913

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The Annunciation, 1887, George Hitchcock, American, 1850–1913

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Hitchcock spent a lot of time in Holland and so painted Mary as a young Dutch girl. Though the angel isn’t specifically shown in the painting the lilies are a representation of the annunciation and even of the angel Gabriel. Mary’s pose and her downcast eyes symbolize that she has already been told the news of Christ’s birth. Hitchcock focused largely on light and shadow in his work, which helps to bring dimension to his work. The muted colors through most of the composition bring the focus to Mary and to the lilies, showing that they are the subjects of the artwork. This art piece was made during the impressionist period and shows the typical connection with nature that was commonly seen then, which would have been a typical lifestyle choice as well as an art choice.

Megan Peterson

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Henry Ossawa Tanner The Annunciation 1898

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Henry Ossawa Tanner The Annunciation 1898

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Henry Tanner painted this piece after returning from a trip to Egypt and Palestine. His trip largely influenced this art piece, it specifically looks like it may have taken place in the middle east, rather than in Paris where Tanner was from. Mary is drawn as a very young girl, wearing rumpled peasant clothes that Tanner would have seen on his trip. Tanner also used light to represent the angel Gabriel who lights the entire room. The shadows that are cast from the angel’s light are extremely realistic, and give a sense of depth to even small details that might not be noticed at first. The arches seen in the building were likely influenced by roman arches, but the rugs used were likely something that Tanner saw in the Middle east. Tanner used scale very well in that the light used to represent Gabriel is as tall as a person standing would be, which helps to draw the conclusion that it is an angel more quickly.

Megan Peterson

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Mary, the revered Mother of Christ, occupies a unique and cherished position in Christian history. Regarded as the Holiest of the Saints and an exemplar for Christian women, her significance grew alongside the influence of the Church. Cities and towns came to see her as their protector, highlighting the deep connection between Mary and the communities that looked up to her. Among the various depictions of her in art, "The Annunciation" stands out as a pivotal and popular theme in European art. This scene portrays the Angel Gabriel delivering the profound news to Mary that she would give birth to Jesus Christ, with the Holy Spirit descending upon her, often symbolized by a dove on rays of light.

Religious influences have played a significant role in shaping societal values throughout history. Mary, recognized as a saint in Christian and Catholic churches, has served as a symbol for women to emulate in various cultural contexts. The representation of Mary in art reflects the prevailing societal expectations of the time, showcasing her engaged in activities deemed virtuous and important. These depictions provide a visual guide, presenting women with a model whose actions align with the virtues associated with Mary, be it studying the Bible or communing with nature.

Symbolism holds a crucial place in many paintings of the Annunciation, conveying messages of purity and spirituality. The angel Gabriel, often depicted with wings and a lily, becomes a symbol of purity and grace. Mary, frequently shown with a book, signifies wisdom and virtue. Her blue robe or shawl becomes a visual representation of her spirituality, and the dove typically painted above her serves as a symbol of the Holy Spirit. Even Mary's posture is carefully crafted to convey messages - folded arms and lowered eyes symbolize humility and acceptance. The angel Gabriel, consistently portrayed kneeling before Mary, emphasizes the urgency and importance of the message while expressing respect and humility.

These symbolic elements retain their relevance in the modern era, challenging viewers to explore the deeper meanings embedded within the paintings. The enduring iconography of the Annunciation serves as a bridge connecting us to the past, inviting reflection on timeless aspects of the human condition. The theme persists in contemporary art, fostering discussions on evolving perspectives regarding faith and gender. While interpretations may vary, historical depictions of Mary continue to influence societal expectations, shaping perceptions of women and contributing to the preservation of certain gender norms.

In contemporary art, the Annunciation remains a subject of exploration, with artists reinterpreting the scene within the context of changing societal values. Despite these shifts, the traditional portrayal of Mary in Annunciation depictions continues to exert a lasting influence on cultural perceptions. The enduring values associated with Mary – submission, modesty, and purity – persist in societal expectations of women. These representations contribute to an ongoing dialogue surrounding gender roles and representations, underscoring the importance of acknowledging historical influences to appreciate the complexities surrounding women's roles in society.

Examining the recurring theme of the Annunciation throughout art history prompts a deeper understanding of its cultural and societal implications. The theme, depicting the angel Gabriel announcing to the Virgin Mary her divine conception, has traditionally emphasized virtues such as submission, modesty, and purity, aligning with societal expectations of women as nurturing and morally upright figures.

In contemporary times, the relevance of the Annunciation persists, provoking consideration of evolving perspectives within the context of faith and gender. Artists may reinterpret this theme, but the enduring impact of historical depictions is evident in societal expectations placed on women. The traditional portrayal of Mary continues to influence cultural perceptions, contributing to the preservation of certain gender norms.

Despite shifts in contemporary art, discussions around the Annunciation prompt reflection on the enduring values associated with women. While interpretations may vary, the historical narrative remains a touchstone for understanding the continuity of societal expectations. Acknowledging these historical influences is essential for appreciating the complexities surrounding gender roles and representations, encouraging ongoing dialogue that respects diverse perspectives on the role of women in society.

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Vittorio matteo Corcos annunciation 1904

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Vittorio matteo Corcos annunciation 1904

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Vittorio Matteto Corcos was a portrait artist who lived 1859-1933. He was born to Jewish parents, and trained at The Academy of Fine Arts in Florence, Italy. After training at the academy Vittorio worked with artist Domenico Morelli to further learn his craft. In Paris Vittorio met Leon Bonnat and signed a contract with Groupi Cie, creating illustrations for their magazine, eventually he gained credibility in Groupi Cie’s close circles allowing for his work to be displayed in the Salon. In 1886 he returned to Florence and converted to Catholicism. He created this oil painting for the Convento di San Francesco in Fiesole, Italy in 1904. This painting depicts Mary leaning against a pillar, hands clasped in prayer. This pose is an unusual departure from the common trend in annunciation scenes which have portrayed Mary sitting or kneeling. Vittorio often painted his subjects in poses like this, with the goal to make his subjects feel more real and less posed like a moment out of time.

Taleena Woodruff

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Annunciation, John William Waterhouse, 1914

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Annunciation, John William Waterhouse, 1914

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Jacek malczewski (1854-1929) Annunciation 1923 oil on plywood 

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Jacek malczewski (1854-1929) Annunciation 1923 oil on plywood 

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The Angel Gabriel Appears to Mary (The Annunciation), by John Scott 1975

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The Angel Gabriel Appears to Mary (The Annunciation), by John Scott 1975

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The 2012 International Art Competition was titled Make Known His Wonderful Works. It is laid out simply so the works can be scrolled through and if there is interest in a specific one it can be clicked on to show details and a description. I found this really helpful because it’s easy to see each work and then learn more about specific works.

https://history.churchofjesuschrist.org/exhibit/2012-international-art-competition?lang=eng

Megan Peterson

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The first thing I noticed about this virtual exhibition that was different from ours was that it is filmed like a short documentary. I really liked that they were able to show the paintings and have voice overs of different people being interviewed and talking about them. I also think it is significant that the people being interviewed ranged from college students to the head curator at the Museum of Arts because this allowed us to have a range of perspectives.

moa.byu.edu/at-bethesdas-waters/

Jayme Wahlquist

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“The Medici: Portraits and Politics” exhibition contains 34 objects. The exhibition also includes a short podcast that explains and explores contextual elements of the 34 works, explaining who the Medici family was, how they came into power, why each piece was created, etc. My favorite part of the exhibit was the explanation of formal elements that went along as well with each piece. These explanations explained the importance of many of the details in the pieces often with excerpts from experts in the relative field. For example the practice of slashing fabric as a decoration as seen in the “Portrait of a Young Man” by Bronzino (Agnolo di Cosimo di Mariano), an Italian painter in the 1530’s. This addition of audio to accompany the pieces helps the audience understand the art better both from a formal as well as a contextual stand point.

https://www.metmuseum.org/exhibitions/listings/2021/medici-portraits-and-politics

Taleena Woodruff

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One of the many things I liked from this exposition is how it had videos as part of their story. They also have a voice recording of someone reading the narative. You can hear from experts and their experiances with the art and what they think about it. They also have reviews.

These paintings show a range of Dutch paintings and compare them.

https://www.metmuseum.org/exhibitions/in-praise-of-painting-dutch-masterpieces

Anna Orchard

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Dutch paintings of the seventeenth century-the Golden Age of Rembrandt, Hals, and Vermeer-have been a highlight of The Met collection since the Museum's founding purchase in 1871. This exhibition brings together some of the Museum's greatest paintings to present this remarkable chapter of art history in a new light. Through sixty-seven works of art organized thematically, In Praise of Painting orients visitors to key issues in seventeenth-century Dutch culture-from debates about religion and conspicuous consumption to painters' fascination with the domestic lives of women.

The exhibition provides a fresh perspective on the canon and parameters of the Dutch Golden Age by uniting paintings from Benjamin Altman's bequest, the Robert Lehman Collection, and the Jack and Belle Linsky Collection. Works typically displayed separately in the Museum's galleries-such as Rembrandt's Gerard de Lairesse and Lairesse's own Apollo and Aurora-are presented side by side, producing a visually compelling narrative about the tensions between realism and idealism during this period. The presentation also provides the opportunity to conserve and display rarely exhibited paintings, including Margareta Haverman's A Vase of Flowers-one of only two known paintings by the artist and the only painting by an early modern Dutch woman currently in The Met collection. The exhibition takes its title from one of the period's major works of art theory, Philips Angel's The Praise of Painting (1642), a pioneering defense of realism in art.

Accompanied by an Audio Guide.
#MetDutchMasterpieces
The exhibition is made possible by the HATA Foundation Fund.

The Audio Guide for this exhibition explores the enduring appeal of Dutch paintings of the seventeenth century. Hear from experts in diverse fields about how these artworks inspire them: a poet muses on still lifes and hidden truths, a cinematographer meditates on stories told with light, and a Dutch florist rearranges the fiction of floral arrangements.

Playlist

1. 5240. Introduction; Rembrandt, Aristotle with a Bust of Homer

2. 5241. Emanuel De Witte, Interior of the Oude Kerk, Delft

3. 5242. Johannes Vermeer, Allegory of the Catholic Faith

4. 5243. Gerard ter Borch the Younger, The Van Moerkerken Family

5. 5244. Rembrandt, Man with a Magnifying Glass

6. 5245. Jacob van Ruisdael, Wheat Fields

7. 5246. Frans Post, Brazilian Landscape

8. 5247. Jan Steen, The Dissolute Household

9. 5248. Frans Hals, Young Man and a Woman in an Inn

10. 5249. Rembrandt, Self-Portrait

11. 5250. Rembrandt, Portrait of Gerard de Lairesse

12. 5251. Gerard de Lairesse, Apollo and Aurora

13. 5252. Rembrandt, The Toilet of Bathsheba

14. 5253. Willem Claesz Heda, Still Life with Oysters, a Silver Tazza, and Glassware

15. 5254. Jan Davidsz de Heem, Still Life with a Glass and Oysters

16. 5255. Margareta Haverman, A Vase of Flowers

17. 5256. Otto Marseus van Schrieck, Still Life with Poppy, Insects, and Reptiles

18. 5257. Nicolaes Maes, Young Woman Peeling Apples

19. 5258. Gerard ter Borch the Younger, Curiosity

20. 5259. Johannes Vermeer, Young Woman with a Water Pitcher

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In Praise of Painting: Dutch Masterpieces at The Met - The Metropolitan Museum of Art

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Exhibition previously on view at The Met

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“The Annunciation and the Visitation by BROEDERLAM, Melchior.” Web Gallery of Art, https://www.wga.hu/html_m/b/broederl/01left.html. Accessed 21 November 2023.

“The Annunciation: A Painting by Francisco de Zurbaran | 123 Help Me.” 123HelpMe.com, https://www.123helpme.com/essay/The-Annunciation-A-Painting-by-Francisco-de-43620. Accessed 21 November 2023.

“Art history | Arts and humanities.” Khan Academy, https://www.khanacademy.org/humanities/art-history. Accessed 21 November 2023.

Art Institute of Chicago. “The Annunciation.” The Art Institute of Chicago, https://www.artic.edu/artworks/7503/the-annunciation. Accessed 21 November 2023.

Church of Jesus Christ of Latter-day Saints. “Make Known His Wonderful Works.” Church History, 2012, https://history.churchofjesuschrist.org/exhibit/2012-international-art-competition?lang=eng. Accessed 21 November 2023.

Esteban, Bartolomé. “The Annunciation - The Collection - Museo Nacional del Prado.” The Annunciation - The Collection - Museo Nacional del Prado, 28 April 2015, https://www.museodelprado.es/en/the-collection/art-work/the-annunciation/971fbc95-3a0d-4559-8859-270e54bc153c. Accessed 21 November 2023.

Hickson, Sally. “» Carlo Crivelli, The Annunciation with Saint Emidius.” Smarthistory, 15 June 2020, https://smarthistory.org/crivelli-annunciation/. Accessed 21 November 2023.

The National Gallery. “Duccio | The Annunciation | NG1139.” National Gallery, https://www.nationalgallery.org.uk/paintings/duccio-the-annunciation. Accessed 22 November 2023.

Philadelphia Museum of Art. “The Annunciation.” Philadelphia Museum of Art, https://philamuseum.org/collection/object/104384. Accessed 21 November 2023.

Pierodella Francesca. “Piero della Francesca | The Legend of the True Cross | The Frescoes of San Francesco in Arrezzo | Treasures in southern Tuscany | Podere Santa Pia.” Traveling in Tuscany, http://www.travelingintuscany.com/art/pierodellafrancesca2.htm#annu. Accessed 22 November 2023.

Pollitt, Ben. “Rossetti, Ecce Ancilla Domini (article).” Khan Academy, https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/rossetti-ecce-ancilla-domini. Accessed 21 November 2023.

Seeing Art History. Sandro Botticelli: The Annunciation. 2016. YouTube, https://www.youtube.com/watch?v=InYeR1ncFHc.

Sharma, Mahima. “Annunciation (Fra Angelico): A Spiritual Gem of Renaissance.” SimplyKalaa, 16 May 2023, https://simplykalaa.com/annunciation-fra-angelico/. Accessed 21 November 2023.

VIS ART. Who is Vittorio Matteo Corcos: Artist Biography. August 2023. YouTube, https://www.youtube.com/watch?v=ivPZE1p9DNU.