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Scenes depicting the Annunciation represent the perpetual virginity of Mary via the announcement by the angel Gabriel that Mary would conceive a child to be born the son of God. The scene is an invariable one in cycles of the Life of the Virgin, and often included as the initial scene in those of the Life of Christ.
The panel shows Mary in a domestic interior with two attendant angels. Gabriel is dressed in ecclesiastical robes, while a dove hovers above Mary, representing the Holy Spirit. It expands upon the Annunciation wing of Rogier van der Weyden's Saint Columba Altarpiece of c. 1455.
The scene is typical of Christian iconography, "The Annunciation to Mary by the Archangel Gabriel", is described in the Gospels and in great detail in The Golden Legend of Jacobus de Voragine, the reference book of painters of the Renaissance, which can be represented in all its symbolic (walled garden column, the presence of the Holy Spirit, an evocation of Adam and Eve expelled from Paradise).
The event is narrated in Luke 1:26–38, in which Gabriel tells Mary that she will bear Jesus, the Son of God. Perhaps influenced by the fundamentalist teachings of the African Methodist Episcopal Church, Tanner uses a column of light to depict Gabriel and paints Mary in peasant clothing with no halo or other discernible holy attributes.
In the Annunciation Gabriel is seen approaching Mary outdoors in the cloister. Overlooking the loggia, an open-sided room of a convent that faces the outside, it is supported by columns. Gabriel is seen clad in pink and gold with multi-coloured wings stooping down with his gaze fixed on Mary.
The figures of the Virgin Mary and the Archangel Gabriel, being emblematic of purity and grace, were favorite subjects of many painters such as Sandro Botticelli, Leonardo da Vinci, Caravaggio, Duccio and Murillo among others. In many depictions the angel may be holding a lily, symbolic of Mary's virginity. [67]
Mary wears a robe in her usual blue, which is trimmed in ermine, reserved for royalty, which would suit this theory, although the Middle Ages placed great emphasis on Mary's royal descent in any case. As is usual, especially in the North, Mary's features are less attractive than those of Gabriel; with his being a sexless angel there was ...
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]