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Fra Angelico, The Annunciation and Life of the Virgin (in the predella), c. 1426

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Fra Angelico, The Annunciation and Life of the Virgin (in the predella), c. 1426발음듣기

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We're at the Prado in Madrid and we are looking at Fra Angelico's Annunciation.발음듣기

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Now, the Annunciation by Fran Angelico that most people are familiar with is a fresco that's in San Marco in Florence This is a painting that was made for a church not far from Florence,...발음듣기

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in Fiesole It is extraordinary in that the frame is original and so not only do you have the main panel, but you've got the predella underneath with all of its original framing elements.발음듣기

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I'm not sure that I've ever seen that.발음듣기

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These things were often taken apart and sold in pieces.발음듣기

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We have an Old Testament scene of Adam and Eve being cast out of the Garden of Eden, or "The Expulsion," by an angel.발음듣기

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And, actually, that scene is joined to the annunciation scene, because in the upper left...발음듣기

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We see the hands of God releasing this divine light and a dove, which you can see just to the left of the column, which is the Holy Spirit.발음듣기

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So we have, actually, The Fall and then the reason for Christ's existence.발음듣기

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And Adam and Eve as the precursors to Mary and Christ.발음듣기

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So the man and woman that cause the fall from grace and Mary and Christ who make salvation possible.발음듣기

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And then we have God the Father looking down, in an almost classical relief sculpture in the center just above that column.발음듣기

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The predella below, is a very condensed series of scenes of the life of the Virgin Mary, from her birth, to her marriage to Joseph, to The Visitation, through to her death.발음듣기

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Through to her death, that's right.발음듣기

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And they are...really meant, in a sense, to be the literal support for this later story.발음듣기

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So, stylistically, one of the things I find quite important is... this sense of quiet and solemnity that Fra Angelico is able to achieve.발음듣기

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You have the angel who is bowing below Mary.발음듣기

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His hands are crossed, which is a symbol of respect, of prayer.발음듣기

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Mary reflects that with her own hands.발음듣기

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I'm really taken by the density of the Garden of Eden, all of the fruit, those flowers.발음듣기

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That wonderful, anti-perspective field of flowers below the feet.발음듣기

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And then you have this stark architecture, they are both too large for the space that they occupy...?발음듣기

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Oh, absolutely. I think if Mary were to stand up, she would hit her head on the ceiling.발음듣기

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But none of that is really important because this is a kind of reverential and invented exploration of beauty as a way of representing the divine.발음듣기

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So this is painted contemporaneous with Masaccio painting the Brancacci Chapel.발음듣기

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So we have two radically different approaches going on in Florence at the same time.발음듣기

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And I think that's a good reminder that not everything in the Renaissance is this linear movement toward naturalism.발음듣기

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But this kind of variety of styles.발음듣기

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Whereas Masaccio is looking for an almost mathematically accurate rendering, here we see an artist who is looking to celebrate the decorative as a way of expressing the moral and the spiritual.발음듣기