Virgin Annunciate, Antonello da Messina

Un aiuto per la esposizione in lingua inglese dell'Annunciata

Antonello da Messina: Virgin Annunciate

Until about the end of the 1800s, it was common for any artist of consequence to paint his version of the Annunciation.  That’s the moment when Mary receives the word from the angel that she will give birth to the Messiah.  Often, the artist made use of the story to show off his skills in painting a ravishingly beautiful angel.

But here, Antonello has elected not to show us the angel at all.  He may or may not be a physical presence in the room.  It’s not really an important issue for Antonello, because it is clear that Mary is certain of God’s word to her.  And Antonello doesn’t want us to be distracted by the angel’s magnificence.  For him, the truly noteworthy element of the story is Mary’s implicit trust in God’s vision of her future.  She can perhaps sense some of the difficulty facing her, but she almost seems to have been prepared to accept it even before the angel appeared. 

Interestingly, Antonello also dispenses with the conventional practice of depicting Mary in a setting that adds to the narrative.  Instead of a temple or an inner room in the background, we see nothing but a solid black.  It is as if she has decided not to trust any of her earthly resources, but the word of God alone.

In her discerning but unhesitating acceptance of the angel’s message, we perceive that her concern about difficulties and uncertainties is fully compensated by her trust in the promise that is also implicit in God’s word.