Fra Filippo Lippi Annunciation

Fra Filippo Lippi - Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence) Introduction Annunciation (c.

1445 Wood, 175 x 183 cm San Lorenzo, Florence) remains one of Fra Filippo Lippi’s most prominent artworks and also one of the most well-known paintings of the 1440s.  This text presents an argument to the effect that as far as the painting’s perspectival detail is concerned, the present piece remains Lippi’s most gratifying artworks.  Further, an assessment of this artistic piece in light of other similar works by Lippi appears convincing that the artist derived his artistic prowess from several fronts namely; alignment with contemporaries and effective utilization of space.  Towards this end, it would be prudent to conduct not only a perspectival exercise of the artwork in the context of other works by Lippi, but also discuss the present piece in the context of Lippi’s other artworks.  It is important to note that like most of his contemporaries at the time, Lippi was also skillful in the art of the objective rendering of nature in his works.  This is clearly demonstrated in Annunciation (c.

1445).    Discussion Belonging to the Italian Quattrocento School, Lippi remains one the most popular Italian painters of the 15th century.  One unique and distinctive approach that Lippi utilized in his works is the humanization of religious art.1  His naturalist inclination also means that in comparison to most of his contemporaries at the time, Lippi in basic terms exhibited minimal vulgar realism.2  As it has been pointed out elsewhere in this text, Lippi was largely inspired by the works of Donatello, and like is the case in the present piece (i.e.

Annunciation - c.

1445), he did borrow some ideas from Donatello’s works.  In essence, Lippi’s key inspiration appears to have been the realistic techniques of the likes of Jan van Eyck.  On the strength of his various works, Lippi was on a number of occasions commissioned for altarpieces in projects that were quite large-scale – with some of his Renaissance artworks being truly outstanding, expressive, and largely autonomous.3            As it has already been pointed out in the introductory section, Annunciation (c.

1445) remains one of Lippi’s most popular pieces.  It should be noted that several of other Lippi artworks go by the same name.  Lippi’s fascination with this particular theme could be a consequence of his familiarity with the dissertations of a catholic priest who happened to be Florence’s Archbishop at the time Lippi’s artistic prowess was blossoming4.  More specifically, in the words of the author, “Filippo Lippi dealt with the theme of the Annunciation surprisingly often, almost certainly because of his interest in it was awakened by the Dominican father Antonio Pierozzi, Archbishop of Florence from 1446…”5 The three most cited occurrences of the Renaissance from a biblical perspective are the Annunciation, the Crucifixion, as well as the Resurrection.6  However, of all three, the Annunciation appears to be the most captivating on a number of fronts.  It is important to note from the onset that the union of God and man happen to be the key theme of Annunciation.7  In that regard, therefore, there are specific aspects of this occurrence that ought to be captured that are representative of both divine and human union – that is, angel(s) and the Virgin Mary.  With that in mind, it is important to note that “an artist ought to be skillful in the utilization of space in this depiction.”8  This is more so the case given that any overly humanistic depiction could rob the angel (or angels) of the divine presence, while excessive focus on the divine nature of the event could see the pictures lose its realistic touch and feel.  Lippi largely succeeds in his balance of the two aspects.  With reference to the Annunciation (c.

1445), the Virgin Mary and the angels are in a common room.  The structural openings of the room, however, are able to present a feeling of ‘otherness’ and thus give a sense of divinity to the setting.     Commissioned for San Lorenzo’s Medici church, Martelli Chapel, the Annunciation can today be found in this same location.9  In this captivating piece, Lippi presents three winged angels on a mission to meet Mary.  A pillar appears to separate angel Gabriel from the two other angels.  On the left hand side of the pillar are the two angels in an upstanding posture and on the right hand side of the pillar is angel Gabriel and Mary (with angel Gabriel in a kneeling position and Mary in an upstanding position).  The posture Gabriel adopts is synonymous with respect towards the mother of God.  The lily he holds in his right hand is indicative of purity.  All the characters depicted in the painting have golden halos over their heads.   The prominence of angel Gabriel has been highlighted in various formats in what appears to be an attempt to underline his importance in this particular setting.  In addition to assuming a kneeling position while all other characters in the picture remain upstanding, there is also a tree whose positioning appears to be aligned with Gabriel.  Symmetry in the painting is attained through the proper alignment of trees that appear in rows on both sides.  Also, the painting’s background depicts the cityscape.  Realism has in this case been attained via the incorporation of architecture and the natural posturing of the figures presented in the painting.   It is also important to note that light has been prominently used to depict the room’s two halves.  Thanks to utilization of the said light, the artist also manages to create some flow from the left hand side of the picture to the right hand side of the said picture, i.e.

in what we could term as the flow from the angels to Mary.  In basic terms, “the paintings of Filippo Lippi are frequently characterized by two features: an interest in minimizing the divide between world and image and the presence of humor, both bodily and representational.”10  Like one of his contemporaries at the time, i.e.

Leonardo da Vinci (1452-1519), Lippi brings to the Annunciation not only flow, but also form and line.   It is clear from various fronts that Lippi also aligns himself with the Italian Renaissance style.  This is the apparent idea presented on the basis of the painting’s architecture.  On either side of the painting are two arches.  It is via these two aches that an observer is introduced into the scene or setting.  To further align the works of Lippi with the styles of his contemporaries at the time, it would be prudent to point out that in the present painting, contrapposto has been utilized in an attempt to present a rather natural as well as dynamic appearance.  In basic terms, contrapposto involves the presentation of a figure resting most of its weight on one leg in what also enables an artist to introduce curves to the figure’s torso for a more realistic feel.11  The way Lippi presents the buildings and their receding nature into the background is particularly distinctive in comparison to Lippi’s other works.  Yet another distinctive aspect that ought to be highlighted is the placement of two prominent figures in one half of the picture space.  In this case, Mary and Gabriel occupy the right half of the said space.  It is important to note that at the bottom of the picture’s right half is a vase that appears transparent.  Angel Gabriel holds lilies in his right hand – with the implication being that the vase is a ready holding vessel for the angel’s lilies.

The Mary Annunciate pose is also somewhat unique.  A closer look at the same, upon review of similarly themed works at the time, reveals that this particular pose has striking semblance to the Annunciation sculpture curved for Santa Croce’s Cavalcanti Chapel by the renowned sculptor Donatello.  Both have the rather strong body twist.  It is also important to note that the two characters on the right hand of Lippi’s artwork – i.e.

Mary and the angel Gabriel – relate in the same way as has been depicted in Donatello’s Annunciation.12  In both, Mary is standing while the angel Gabriel is in a kneeling position.  The parallels between the two representations are, therefore, undeniable.  Even so, it should be noted that both representations differ in their depiction of faces.  Lippi’s approach in this case is largely unique and does not in any way identify with the classicism of Donatello at the time.        Some of the other pieces for which Lippi is known include, but they are not limited to, Madonna with the Child and Two Angels (1465), Madonna and Child Enthroned (1437), and St.

Jerome in Penance (c. 1439).  The other Annunciation works of Lippi include the Annunciation with two kneeling donors (c. 1440) and Annunciation (1445-50).  Annunciation with two kneeling donors (c.

1440) has Virgin Mary as the main focus – a fact underlined with her placement in the middle of the picture’s scene.  On the right hand side of the painting, we have two donors in a kneeling position and further in the background there are two women in a staircase.  An angel is pictured presenting Mary with a lily on the left hand side of the painting.  In this painting, similarities could be made with regard to Annunciation (c.

1445) via the incorporation of a naturalistic perspective.  Behind Mary is a window that opens into a field dotted with trees and with a rich grass carpet.  This, like is the case with the present piece (where the angel Gabriel’s position is aligned with a tree in a prominent setting) appears to be a deliberate effort to draw the viewer’s attention to Mary.   The Annunciation (1445-50) appears to indicate the moment Virgin Mary embraces her role as the mother of God.  In this.