His two Annunciation painting the same subject description. COVID-19 spoke with conviction. Two designs. Around 1470/1475 Annunciation”14 x 59 cm. wood. Paris. Musee national you Louvre. A small-format narrow rectangle.
The rectangle provides a focused image form. The angels according to be transmitted is approaching and kneeling down, his message. His large feathered wings are folded up. Leonardo illustrates a perfect illusion of materiality. Nevertheless he has made at the same time a central image form with painted rounded corners, in the middle of the greeting of the Angel and therefore the Annunciation Embassy virtually located in a vacuum.
The Angel has lowered his head slightly and look down. He kneels rather apart, perhaps as a result of the narrow frame. Over Mary’s head can span an arc from the wings of the Angel. The outline of the two figures reflects the only mind existing outer oval framing. The Angel is joined in the front yard or flown, kneeling on the lawn, surrounded by lush grasses. Left behind the angel the wall surrounding the lawn is open, making it perhaps occurred. Maria is located in its outer area of the House, kneeling before a lectern, arms crossed submissive, the head in profile is slightly reduced, surrounded by a barren House area with wooden benches. Both don’t look at themselves. Mary wears a light grayish coat. The Angel a bright tunic. The dark brown lining of his dark red coat harmonises with the earth tones of the painting. Behind the Angel, we see a landscape view separated by a light, the tree line in dark silhouettes. At the left edge of the image, a way to a massive rock. Wood to 1470/75 Annunciation”. 0.98 x 2.17 m Florence, Galleria degli Uffizi Maria by no means submissive sits, has its left raised, receiving their rights rests delicately in the beaten-up book, which itself this time designed style on a Renaissance with shells, volutes, garlands is ornament, including ornate lectern, whose book surface with a transparent veil is draped.