Annunciation by Piero della Francesca

Francesca’s painting contains many important and fascinating elements that are not only revealing of the artist himself, but of the distinctive styles that developed during the Renaissance. For example, Francesca paints the scene in a traditionally Greek or Roman settings. The Corinthian and Ionic columns are a prominent element of the work. This is a good example of Francesca’s interest in combining Christian ideology with the Classical Revival that took place during the Renaissance. Mary holds a book, revealing her intelligence, Gabriel enters from the left, and God literally hovers above them watching. From God, who is portrayed as an elderly Anglo Saxon male, a ray of light shines onto Mary. This is a symbol of her pregnancy and Jesus as the “light of God.”. God is ‘giving’ Mary Jesus while Gabriel is telling her the news. Mary’s placement and relationship to the architecture is a symbol of her role as the “House of God.” Other symbols include the closed door to the left of Mary to show her virginity. However, a closed door is above her, symbolizing her ‘openness’ to the word of God. The tones in the painting are rather muted. Francesca uses primarily blues and reds. The blue of the sky along with the blue of Mary’s robe give her an ethereal, royal appearance. God also wears a blue robe, tying him and Mary together, while Gabriel wears darker, earthier tones showing his lowered status as a mere messenger and servant. The painting lacks one point perspective and continues in the Gothic tradition of painting important figures frontally. While some perspective is used in the portray of the overhanging and open door, the rest of the backdrop is flat. Where perspective is used it is over exaggerated. Along with the ray of light, we also see use of shadow across Gabriel, reflected in the shadows of his bare feet and the front column.