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Martin Schongauer. The Virgin of the Annunciation. 1470–1475. Germany. Engraving in black on ivory laid paper Martin Schongauer conceived the Angel and the Virgin of the Annunciation as two separate engravings, forming a type of diptych. The angel Gabriel and the Virgin Mary often appeared against a dark ground on the outer wings of altarpieces, painted in a monochromic style called grisaille, which emphasizes the figures’ sculptural relief. Schongauer’s pared-down background replaces the view of Mary’s bedroom usually found in Annunciation scenes. Instead, Mary receives the news of her divine

Martin Schongauer. The Virgin of the Annunciation. 1470–1475. Germany. Engraving in black on ivory laid paper Martin Schongauer conceived the Angel and the Virgin of the Annunciation as two separate engravings, forming a type of diptych. The angel Gabriel and the Virgin Mary often appeared against a dark ground on the outer wings of altarpieces, painted in a monochromic style called grisaille, which emphasizes the figures’ sculptural relief. Schongauer’s pared-down background replaces the view of Mary’s bedroom usually found in Annunciation scenes. Instead, Mary receives the news of her divine Stock Photo
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Contributor:

WBC ART / Alamy Stock Photo

Image ID:

2AHW4MB

File size:

17.9 MB (1.4 MB Compressed download)

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Dimensions:

2082 x 3000 px | 17.6 x 25.4 cm | 6.9 x 10 inches | 300dpi

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Martin Schongauer. The Virgin of the Annunciation. 1470–1475. Germany. Engraving in black on ivory laid paper Martin Schongauer conceived the Angel and the Virgin of the Annunciation as two separate engravings, forming a type of diptych. The angel Gabriel and the Virgin Mary often appeared against a dark ground on the outer wings of altarpieces, painted in a monochromic style called grisaille, which emphasizes the figures’ sculptural relief. Schongauer’s pared-down background replaces the view of Mary’s bedroom usually found in Annunciation scenes. Instead, Mary receives the news of her divine motherhood from the angel with only a book in her hand; the potted lily represents her absolute purity. Schongauer’s treatment of the flowing drapery further underscores the figures’ monumentality.