To start with, the setting of the painting plays important role in understanding of the artwork context. In case of Fra Angelico, the most part of the space takes a porch with visible garden on the background. In his artistic vision, the act of telling Virgin Mary the good tidings takes place outdoor in the porch. On the contrary, the setting in The Annunciation in di Lorenzo’s version takes place in the limited space of closed room. Spectators can easily recognize the walls, columns, and the pieces of furniture. Because of these surroundings, it is relevant to state that that the selected two paintings are mostly different. At the same time, this opposition reveals similarities, if to look closer to the details. In particular, the pillars appear in both cases of Annunciation imaging. In the painting di Lorenzo, he inserted pillars into the front view of his room. In detail, their function in the artwork is to divide the overall image in two registers. In the setting of Fra Angelico’s The Annunciation, six pillars bear the porch where postures sit. In the same manner, he uses three pillars to draw the line between angel Gabriel and Virgin Mary. Moreover, the appearance of the columns is similar. In this context, both Fra Angelico and di Lorenzo supplemented the columns with Corinthian capitals. At the same time, differences between two paintings appear in the scape and function of the above-mentioned pillars. In the painting of di Lorenzo, scape of pillars has three visible lines that form the chief linear dimension.
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This essay describes that the religious motif of Annunciation often served as an inspiration to create an artwork, especially in the case of Early Renaissance painters. In Early Renaissance period, both Fra Angelico’s The Annunciation and di Lorenzo’s The Annunciation imaged this religious celebration…
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