Fra Filippo Lippi - Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence) Introduction

Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence) remains one of Fra Filippo Lippi’s most prominent artworks and also one of the most well-known paintings of the 1440s. This text presents an argument to the effect that as far as the painting’s perspectival detail is concerned, the present piece remains Lippi’s most gratifying artworks. Further, an assessment of this artistic piece in light of other similar works by Lippi appears convincing that the artist derived his artistic prowess from several fronts namely; alignment with contemporaries and effective utilization of space. Towards this end, it would be prudent to conduct not only a perspectival exercise of the artwork in the context of other works by Lippi, but also discuss the present piece in the context of Lippi’s other artworks. It is important to note that like most of his contemporaries at the time, Lippi was also skillful in the art of the objective rendering of nature in his works. This is clearly demonstrated in Annunciation (c. 1445).

Discussion

Belonging to the Italian Quattrocento School, Lippi remains one the most popular Italian painters of the 15th century. One unique and distinctive approach that Lippi utilized in his works is the humanization of religious art.[footnoteRef:1] His naturalist inclination also means that in comparison to most of his contemporaries at the time, Lippi in basic terms exhibited minimal vulgar realism.[footnoteRef:2] As it has been pointed out elsewhere in this text, Lippi was largely inspired by the works of Donatello, and like is the case in the present piece (i.e. Annunciation - c. 1445), he did borrow some ideas from Donatello’s works. In essence, Lippi’s key inspiration appears to have been the realistic techniques of the likes of Jan van Eyck. On the strength of his various works, Lippi was on a number of occasions commissioned for altarpieces in projects that were quite large-scale – with some of his Renaissance artworks being truly outstanding, expressive, and largely autonomous.[footnoteRef:3] [1: Stephen Beisell, Fra Angelico. (New York, NY: Parkstone International, 2015), 73. ] [2: Beisell, Fra Angelico, 74.] [3: David Summers, Vision, Reflection, and Desire in Western Painting. (Chapel Hill, NC: University of North Carolina Press, 2007), 112.]

As it has already been pointed out in the introductory section, Annunciation (c. 1445) remains one of Lippi’s most popular pieces. It should be noted that several of other Lippi artworks go by the same name. Lippi’s fascination with this particular theme could be a consequence of his familiarity with the dissertations of a catholic priest who happened to be Florence’s Archbishop at the time Lippi’s artistic prowess was blossoming[footnoteRef:4]. More specifically, in the words of the author, “Filippo Lippi dealt with the theme of the Annunciation surprisingly often, almost certainly because of his interest in it was awakened by the Dominican father Antonio Pierozzi, Archbishop...

(Mineola, New York: Dover Publications, 2012), 84. ] [5: Vasari, Vasari's Lives of the Artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian, 87. ]
The three most cited occurrences of the Renaissance from a biblical perspective are the Annunciation, the Crucifixion, as well as the Resurrection.[footnoteRef:6] However, of all three, the Annunciation appears to be the most captivating on a number of fronts. It is important to note from the onset that the union of God and man happen to be the key theme of Annunciation.[footnoteRef:7] In that regard, therefore, there are specific aspects of this occurrence that ought to be captured that are representative of both divine and human union – that is, angel(s) and the Virgin Mary. With that in mind, it is important to note that “an artist ought to be skillful in the utilization of space in this depiction.”[footnoteRef:8] This is more so the case given that any overly humanistic depiction could rob the angel (or angels) of the divine presence, while excessive focus on the divine nature of the event could see the pictures lose its realistic touch and feel. Lippi largely succeeds in his balance of the two aspects. With reference to the Annunciation (c. 1445), the Virgin Mary and the angels are in a common room. The structural openings of the room, however, are able to present a feeling of ‘otherness’ and thus give a sense of divinity to the setting. [6: Raymond V. Marie, The Development of the Italian Schools of Painting. (New York, NY: Springer, 2012), 237. ] [7: Erskine Clement, Angels. (New York, NY: Parkstone International, 2014), 32. ] [8: Clement, Angels, 34. ]

Commissioned for San Lorenzo’s Medici church, Martelli Chapel, the Annunciation can today be found in this same location.[footnoteRef:9] In this captivating piece, Lippi presents three winged angels on a mission to meet Mary. A pillar appears to separate angel Gabriel from the two other angels. On the left hand side of the pillar are the two angels in an upstanding posture and on the right hand side of the pillar is angel Gabriel and Mary (with angel Gabriel in a kneeling position and Mary in an upstanding position). The posture Gabriel adopts is synonymous with respect towards the mother of God. The lily he holds in his right hand is indicative of purity. All the characters depicted in the painting have golden halos over their heads. [9: Vasari, Vasari's Lives of the Artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian, 88. ]

The prominence of angel Gabriel has been highlighted in various formats in what appears to be an attempt to underline his importance in this particular setting. In addition to assuming a kneeling position while all other characters in the picture remain upstanding, there is also a tree whose positioning appears to be aligned with Gabriel.…