Presentation Assignment: Leonardo da Vinci's "Annunciation"

    da Vinci, L. (1476). Annunciation [Painting]. Uffizi, Florence.

        Referencing the beginning of the Renaissance period and Leonardo da Vinci's ideas: "Leonardo was faithful to experience, and therefore to nature, to the cult of what is concrete rather than the abstract idea" (Frere 41). Leonardo da Vinci's connection to the world and to nature highlighted the idea and movement of the Renaissance. Da Vinci was born in Vinci, Italy in 1452 and was raised by his grandfather, he grew to be an engineer, mathematician, architect, theorist, scientist, painter, and more. Over 6,000 pages of journal notes and drawings leave behind a legacy of his ideas, illuminating the path of Renaissance evolution. Among his early works, the painting of the "Annunciation" stands out and was completed when he was just 20 years old, as an apprentice of Verrocchio. This painting represents the marks of his youthful experimentation and learning. Throughout this discussion, we will dissect the history of the "Annunciation," da Vinci's inspiration from nature, his conception of the Angel and the Virgin, as well as the mistakes and techniques of the final product. This story begins in 1472, when Leonardo da Vinci first began his artistic endeavor of the "Annunciation."

        Firstly, it is important to recognize that Leonardo da Vinci was not the first artist to depict the "Annunciation." This scene is vital in multiple religions and has been portrayed as early as the 4th century, with renditions by various artists from different places and times. While da Vinci's interpretation is perhaps the most recognizable, each iteration always depicts three important features: the Angel Gabriel, the Virgin Mary, and the lectern. Various images of the "Annunciation" are included below, for reference:

 (Above) David, J. (1506). The Annunciation [Painting]. The Metropolitan Museum  of Art, New York.

 (Below) Veneziano, D. (1445). The Annunciation [Painting]. The Fitzwilliam Museum, Cambridge.

The lectern within Leonardo's "Annunciation" has led to numerous debates over credit to artists involved in the piece. As previously stated, Leonardo was a pupil in Verrocchio's studio, working alongside other artists. There are speculations Verrocchio himself might have contributed to the painting. Much of the confusion centers around the lectern, deemed to be awkwardly placed within the painting and to be of such unsatisfactory quality that it couldn't possibly have been done by the great da Vinci. Alas, even following Leonardo's death and into the post-Renaissance era, the painting was credited to Lorenzo di Credi for several years. Di Credi, another pupil in Verrocchio's studio, fueled speculation that he and da Vinci collaborated on the piece, with Leonardo offering the finishing touches. In the end, historians confirmed Leonard da Vinci started and finished this creation of the "Annunciation." 

Da Vinci received a commission to create the "Annunciation" for the Church of San Bartolomeo of Monte Oliveto, located in Florence. Presently, the painting resided in Florence and is part of the Uffizi Gallery's unique, Renaissance collection. Interestingly, despite the confusion revolving around his religious affiliations, much of Leonardo's work drew inspiration from the natural world.

        In the prime of the Renaissance era, there emerged periods of experimentation with backgrounds, new techniques, and vanishing points, all of which Leonardo da Vinci mastered by the end of his time. Unlike earlier "Annunciation" paintings with simple backgrounds, Leonardo introduced innovation by showcasing an open background adorned with diverse trees and a misty, almost mysterious void. Highlighted by D.M. Field in his book: "Leonardo da Vinci", "Leonardo's landscapes are not merely decoration; they are part of the emotional tone of the picture. Simultaneously, they bear witness to his love of nature and determination to depict it realistically through form, modelling, light and shade - not merely by line" (Field 72). The somber colors of the trees produce an eerie backdrop, accentuated by the fog surrounding the vanishing point. This draws the viewer into the bright foreground, compromising the Angel, the Virgin, and the eccentric flowers. Additionally, da Vinci makes use of the sfumato technique, which softens the transitions between paints, allowing the perceiver to clearly see the scene without focusing on the harsh lines and boundaries of the art. 

   Siber, A. (2014). Perspective of "Annunciation" [Image]. Construction of a Particular Reality.

Another technique practiced by Leonardo was the use of the vanishing point. As depicted above, the image exemplifies the geometric principles used by da Vinci, where a single horizon line converges all other angles toward the center, into the hazy background. During the Renaissance, it was common for the horizon to align with the observer's eye level. Notably, the horizon also coincides with the Angel's viewpoint, suggesting that the viewer is positioned similarly, perhaps even kneeling as well. This provides additional context for the painting, implementing how Leonardo wanted us to see his version of the "Annunciation." 

To continue, the flowers of the foreground represent the light of the painting. The most notable symbolism is the white lilies the Angel Gabriel is presenting to the Virgin Mary. The single white lily represents the Virgin: white, pure, and full of promises. On the other hand, the flowers all about the ground are especially a characteristic of Leonardo, as worded by Field, "Which are not set out in the conventional way, as in an orderly garden or spread over the ground like a floral quilt but are wild and full of life" (Field 81). This untamed foreground embodies the essence of the Angel: vibrant, lively, and seemingly uncontrollable. This juxtaposition of the two types of flowers - the chaotic versus the calm - provides da Vinci's "Annunciation" with a sense of equilibrium and harmony.

da Vinci, L. (1500). Drawing of lilies, for an Annunciation [Sketch]. Florence.

Next, presents the analysis of the Angel Gabriel and the Virgin Mary and how they bring the final painting together into light and eternity. 

        Similarly, da Vinci introduces a stylistic element into his contemplation of life and the natural world. Frere captures this notion in his book "Leonardo da Vinci", writing, "Leonardo seems to have sought refuge in a quest for the permanent and eternal. Not some metaphysical eternity ... Rather the representation of something eternal. And this eternal thing was purely and simply light, the radiant energy that gives form to everything in the universe. In his own words: 'To plunge things into Light is to plunge them into the Infinite'" (Frere 188). Da Vinci uses illumination to represent the religious significance in his paintings, epitomizing the eternal, infinite nature of the Angel Gabriel. The Angel overcomes the observer and the Virgin Mary, who remains shadowed in her section of the piece. Gabriel, representing eternity, bears the message of the becoming of Christ. This embodies and references the title, the "Annunciation:" the announcement of something grand. This moment is pivotal in many different religions, Leonardo highlights this with his illumination of the Angel Gabriel, showcasing that this message is important, this message means something to the viewer.

On the other hand, the Virgin Mary appears surprised. There is a look of astonishment, with features that possess a cold expression. According to Frere, she exudes the picture of a "strong, monumental character" (Frere). An interesting aspect is how the Virgin reflects the use of the vanishing point and Leonardo's immaturity as an artist. See the image below and how the Virgin Mary's hand does not match the angels of the horizon line or to the rest of the painting. This shows the mistakes of a younger da Vinci, indicating that he still has further to grow. Additionally, her other hand rest unnaturally on the lectern, due to its distance from her main frame. It creates an uncomfortable pose, contributing to the Virgin being a less successful painted woman by Leonardo. 

Other mistakes are represented in the depiction of the Angel, showcasing Leonardo da Vinci's inexperience at twenty years old at the beginning of his passion for art. 

        To reiterate, Leonardo was a student of Verrocchio during the production of the "Annunciation," which led him to implement various techniques and ideas from other artists. These influences would eventually help da Vinci develop his own style. The "Annunciation" is his first surviving painting and marks the beginnings of his journey to becoming a great artist of the Renaissance Era. Arguably, the most fascinating aspect of the "Annunciation" is the Angel's wings. Leonardo often studied the anatomy of humans and animals through dissection to have a proper understanding of their ligaments and bodily functions. The wings were no exception, where da Vinci studied chicken wings for an accurate depiction. In fact, da Vinci's "Annunciation" is one of the only one whose Angel would be able to achieve flight. An image of the wings is printed below:

da Vinci, L. (1476). Annunciation [Painting]. Uffizi, Florence.

As depicted, the darker shades of feathers (closer to the base of the wings) are the original wings painted by Leonardo. The ends of the wings, the longer feathers, were added on by a different artist, to match the look of earlier depictions of Angel wings.

Lastly, da Vinci's "Annunciation" showcases the implementation of his own techniques. Here, it features his early use of 'finger painting,' where he would bypass the use of a brush and instead paint the intricate details with his own fingers, achieving greater precision and smoother blending.

        In conclusion, the "Annunciation" - its inspiration, character, mistakes, and techniques - paved the way for Leonardo's future. As Donald Sassoon wrote in "Leonardo and the Mona Lisa Story: The History of a Painting told in Pictures:", "Though this is still an early piece, elements that would become Leonardo trademarks are evident in the drapery of the garments worn by the two figures and especially in the hazy, mysterious landscape" (Sassoon 68). Leonardo da Vinci's techniques, paintings, and name will be remembered as the start of the Renaissance Period. 

References:

Frere, J. C. (2003). Leonardo da Vinci. Telleri.

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da Vinci, L. (1476). Annunciation [Painting]. Uffizi, Florence.                 https://commons.wikimedia.org/wiki/File:Annunciation_(Leonardo).jpg#/media/File:Annunciation_(Leonardo).jpg

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Field, D. M. (2002). Leonardo da Vinci. Grange Books.

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Sassoon, D. (2006). Leonardo and the Mona Lisa Story: The History of a Painting Told in Pictures. Overlook Duckworth and Madison Press.

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