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Annunciation (c. 1472–1475), Uffizi, is thought to be Leonardo da Vinci's earliest complete work. The Annunciation (from the Latin annuntiatio; also referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, [1] or the Annunciation of the Lord; Ancient Greek: Ο Ευαγγελισμός της Θεοτόκου) is, according to the Gospel of Luke, the ...
The Feast of the Annunciation (Greek: Ο Ευαγγελισμός της Θεοτόκου, romanized: O Evangelismós tis Theotókou, lit. 'the Annunciation of the Mother of God') commemorates the visit of the archangel Gabriel to the Virgin Mary, during which he informed her that she would be the mother of Jesus Christ, the Son of God.
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 Annunciation is a painting by the Italian Renaissance artist Leonardo da Vinci, dated to c. 1472–1476. [ n 1 ] Leonardo's earliest extant major work, it was completed in Florence while he was an apprentice in the studio of Andrea del Verrocchio .
"Christ is born in Bethlehem!" Nahum Tate's well-known carol "While Shepherds Watched Their Flocks" (1700) is entirely devoted to describing the annunciation to the shepherds, and the episode is also significant in "The First Nowell", Angels from the Realms of Glory, the originally French carol "Angels We Have Heard on High", and several others.
In the Western liturgical year, Lady Day is the common name in some English-speaking and Scandinavian countries of the Feast of the Annunciation, celebrated on 25 March to commemorate the annunciation of the archangel Gabriel to the Virgin Mary that she would bear Jesus Christ, the Son of God.
The Annunciation is one of the most frequently depicted scenes in Western art. [72] Annunciation scenes also amount to the most frequent appearances of Gabriel in medieval art. [73] The depiction of Joseph turning away in some Nativity scenes is a discreet reference to the fatherhood of the Holy Spirit and the virgin birth. [74]
Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ. [4]