Leonardo's touch in Annunciation

Leonardo's touch in Annunciation

 

In this period, Leonardo was only an apprentice. He never painted face of the Virgin and the angel.
He only painted landscape and foreground, clothes, the wing of the angel.

There is somewhat discomfort in the linear depiction of that garment.
It is possible that these clothes were painted by other painter, Lorenzo di Credi.

The delicate description of the wing suggests a study on the flight of the bird by Leonardo.

 

 

Annunciation

 

Annunciation

Oil and tempera on poplar, 100 x 2215 cm Florence, Galleria degli Uffizi, Inv. 1618


The Annunciation has been the subject of debate.
Until May 1867 this painting was housed in the sacristy of the church of San Bartolomeo a Monteoliveto. whose monks believed it to be a work by Domenico Ghirlandaio.
The Annunciation came to the Uffizi in 1867, it was exhibited as a work by Leonardo.
It was more recently determined to be a collaboration between Leonardo and his master Verrocchio or Lorenzo di Credi's and Domenico Ghirlandaio.
It is certain that this picture was painted by several artists.

This picture consists of five boards, 3.5cm thick, glued together horizontally.
Towards the end of the 19th century, the boards were planed off on the back to reduce their thickness.
This picture was restored in 2000, and the wings of the angel, the row of trees and landscape behind the angel became clear and legible.
X-rays also reveal the outlines of a window in a completely different place, namely parallel to the rear wall and the head of the Virgin has undergone significant alternations.
The first version of the area around her hair was removed and then completely repainted.
The angel's head also was originally lower, and the Virgin's right hand shorter, it's little finger neither raised nor bent.
In the first version Mary worn a chain and decorative pendant.

This painting was executed around 1472-1475 and is dated by the marble sarcophagus. It was copied from Piero de Medici's tomb which Verrocchio carved in the church of San Lorenzo. When he was still an apprentice in the workshop of his master, Andrea del Verrocchio.

 

The Uffizi Gallery Museum


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