Arte in Toscana | Antonello da Messina | L'Annunciazione della chiesa di Santa Maria Annunziata di Palazzolo Acreide, 1474 /title>  <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1">  <link href="/tekst.css" rel="stylesheet" type="text/css"> <style type="text/css">  </style> <script language="JavaScript" type="text/JavaScript">  </script> <script language="JavaScript" type="text/JavaScript">  </script> </head> <body bgcolor="#FFFFFF"> <div id="Layer1" style="position: absolute; width: 400px; height: 605px; z-index: 1; left: 920px; top: 115px;" class="SMALLCAPS"> <p><a href="../../engels/firenze/bargellomuseum.htm" target="_blank"><img src="../../titels/italiaans/arezzob.gif" width="80" height="29" vspace="12" border="0"><br> </a><a href="../../engels/arezzo/cattedraledeisantipietroedonato.htm">Cattedrale dei Santi Pietro e Donato<br> <br> </a><a href="/engels/arezzo/santamariadellapieve.htm">Santa Maria della Pieve</a><br> <br> <a 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href="/images/art/antonellodamessina/annunciation700.jpg" target="_blank"><img src="/images/art/antonellodamessina/annunciazione700.jpg" width="700" height="700" vspace="2" border="0"></a></td> </tr> <tr> <td valign="top" class="noot"> <div align="left"><a href="/arte/antonellodamessina/annunciazione.htm">I T </a><br> <br> </div></td> <td valign="top" class="noot"><div align="right">Antonello da Messina, <em>Annunciation</em>, 180 cm x 180 cm, Museo Nazionale di Siracusa<br> <br> <br> </div></td> </tr> </table> </div></td> <td align="right" valign="top"><a href="/engels/artintuscany.htm"><img src="/titels/artb.gif" width="22" height="29" border="0"></a><a href="/album.htm#album"></a></td> <td align="right" valign="top"><a href="../../english/surroundings.htm"><img src="../../titels/engels/travelguideb.gif" width="102" height="29" alt="Travel guide for Tuscany"></a></td> </tr> <tr> <td> </td> <td> </td> <td> </td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"><div align="center"> <table width="706" border="0" align="center"> <tr> <td valign="top" class="titel"><br> <strong><strong>Antonello da Messina</strong> | Annunciation, 1474<br> <br> <br> </strong></td> </tr> </table>  </div> </td> <td> </td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"> <table width="706" border="0" align="center"> <tr> <td valign="top" class="tekst"> <p>The <span class="titel">Annunciation</span> is a painting by the Italian Renaissance master <a href="/art/antonellodamessina.htm">Antonello da Messina</a>, executed in 1474. It is housed in the Palazzo Bellomo Museum, in the historical center of Syracuse, Sicily, southern Italy. There are many mysteries in art history, but that surrounding the life and works of Antonello da Messina is definitely one of the most celebrated and complex. Information about his life is confused (he was born somewhere between 1425 and 1431, and died in 1479), precise dates are few and far between, theories concerning his formation are contradictory. However, one thing is absolutely clear: Antonello was an extraordinary painter, one of the greatest of his time.<span class="noot"><br> </span>The Annunciazione represents an important time in the artistic production of Antonello da Messina, one of the most innovative portrait painters of the 5th century and considered to be the initiator of artistic renewal of Southern Italy for the combination of prospective techniques, deriving from the works of art of <a href="/art/pierodellafrancesca.htm">Piero della Francesca</a>, with the meticulous attention to detail typical of Flemish art.<span class="noot"> [<a href="/art/antonellodamessina/annunciazione.htm#1">1</a>]</span></p> </td> </tr> </table>  </td> <td> </td> <td rowspan="9"> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"><div align="center"> <table width="706" border="0"> <tr valign="top"> <td width="461">The contract for the realization of the work was signed in the August 1474 by Antonello and Giuliano Maniuni, a priest from Palazzolo Acreide, for the local church of Santa Maria Annunziata. the work is subsequently not documented until it was rediscovered in 1897 by Enrico Mauceri, an employee of the Archaeological Museum of Syracuse. In 1902 a document esplicitly attributing the work to Antonello was found.<br> <br> The painting, which was in a poor state of preservation, was restored in 2006. </td> <td width="31"> </td> <td width="200" class="noot"> <div align="center"><a href="/images/art/antonellodamessina/annunciation700.jpg" target="_blank"><img src="/images/art/antonellodamessina/annunciazione2200.jpg" width="200" height="245" vspace="" border="0"><br> </a><em>Annunciation</em> (detail), Museo Nazionale di Siracusa<a href="/images/art/antonellodamessina/annunciation700.jpg" target="_blank"><br> <br> </a></div></td> </tr> <tr valign="top"> <td><br> <span class="titel"><br> L’Annunciazione della chiesa di Santa Maria Annunziata di Palazzolo Acreide</span><br> <br> <br></td> <td> </td> <td class="noot"> </td> </tr> <tr valign="top"> <td colspan="3"><img src="/images/art/antonellodamessina/annunciazione1700.jpg" width="700" height="642" vspace="2"></td> </tr> <tr valign="top"> <td colspan="3"><div align="right"><span class="noot">Antonello da Messina, <em>Annunciation</em> (detail), cm. 180 x 180 cm, Museo Nazionale di Siracusa<br> <br> <br> </span></div></td> </tr> <tr valign="top"> <td class="titel"><br> Descrizione e stile<br> <br> <br></td> <td> </td> <td class="noot"> </td> </tr> <tr valign="top"> <td><p> The scene is set in a small room with a decorated beamed ceiling, supported by two columns which separate the right half of the painting (with the Virgin) from the left one (with the Angel). The background wall has two windows, with a third in an another room visible on the right, according to an iconography derived from the Flemish painting, using different light sources and spatial openings also in interiors.</p> <p>The objects and the furnitures, as usually in Antonello's works, are finely detailed. They include the Virgin's bed in the backgroud room, the prie-dieu on which she is kneeling, the vase with a blue and white decoration in the foreground (now damaged). Mary has crossed hands while being reached by the dove of the Holy Spirit, sent by God through the opened window. She wears a typical blue mantle above a red dress. The angel, who holds the traditional lily (which is however hidden by a column) and blesses the Virgin, has a rich damask decoration. The face, crowned by long blonde hair, is adorned with a blue diadem, pearls and a ruby, typical details of the Flemish school.</p> <p>Below is also the figure of a devout, the priest mentioned in the commission contract.<span class="noot">[<a href="/art/antonellodamessina/annunziata.htm#2">2</a>]<br> <br> </span></p> </td> <td> </td> <td class="noot"><div align="center"><a href="/images/art/antonellodamessina/annunciazione3700.jpg"><img src="/images/art/antonellodamessina/annunciazione3200.jpg" width="200" height="245" vspace="" border="0"></a><br> <em>Annunciation</em> (detail), Museo Nazionale di Siracusa</div></td> </tr> </table> </div></td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"><div align="center"> <table width="706" border="0" align="center"> <tr class="noot"> <td colspan="3"><img src="/titels/note.gif" width="51" height="29" vspace="15"><a name="1"></a></td> <td> </td> <td valign="top"> </td> </tr> <tr class="noot"> <td colspan="3" valign="top">[1] <span class="noottitel">Antonello da Messina </span>(Messina - 1430 circa, 1479) <br> The life of Antonello da Messina has been the subject of contradictory and often fanciful reconstructions during the course of the centuries. There are many reasons for such a complex critical appraisal, especially a lack of documentation overall combined with the fact that the surviving paintings are all concentrated in a particular period. While hardly anything has come down to us from the first two decades of this painter’s career, who we may suppose was already at work by 1450, his output was considerable in the 1470s, namely the last ten years of his life, which has contributed to the imbalance in the critical evaluation of his oeuvre<em>.<br> <br> </em>Probably born around 1431, Antonello’s artistic career began in the lively cultural climate of the Aragonese court in Naples, at that time one of the centres of the Mediterranean civilization. The painter Colantino was active in this city at the time, and it was in his workshop that Antonello did his early training, receptive to the many stimuli offered by an environment in which Catalan and Provençal works were to be found, along with Northern- European masterpieces such as the extraordinary Lomellini Triptych by Jan van Eyck.<br> <br> His debut came with paintings like the Salting Madonna and the enigmatic Portrait of a Man, from Cefalù. These were followed, between 1473 and 1474, by works that were already fully mature, the two most important being the Annunciation from Syracuse, where the lighting effects in the intricate spatial composition are handled with complete mastery, and the Saint Gregory Polyptych, commissioned for the church of the Benedictine Convent of Santa Maria Outside the Walls, with its highly innovative psychological rendering of the figures.<br> <br> But it was Antonello’s period in Venice, from 1475 to 1476, which marked the definitive turning point in his artistic career and in fifteenth-century Italian art history. The encounter between Antonello’s art and the Venetian figurative environment, represented primarily by Giovanni Bellini, created the conditions necessary for absolute masterpieces, particularly portraits such as the so-called Condottiere in the Louvre or the male portraits held by the National Gallery in London and the Galleria Borghese in Rome. Here, the typically Flemish characteristics such as the three-quarter pose, the parapet separating the subject from the viewer, the trompe l’oeil cartellino and the dark ground, are combined with a psychological rendering made unique and groundbreaking by its profound insight.<br> <br> Antonello was immediately recognized as a great artist in Venice and received many prestigious commissions, including the one for the San Cassiano Altarpiece, painted in 1476 for the aristocrat Pietro Bon. This work immediately became famous for its wealth of precious details, and was executed in direct relation to contemporary works by Bellini.<br> <br> </td> <td width="41"> </td> <td width="200" valign="top"><div align="center"><a href="/images/art/antonellodamessina/londonportrait700.jpg" target="_blank"><img src="/images/art/antonellodamessina/londonportrait200.jpg" width="200" height="281" vspace="" border="0"></a>Antonello da Messina, <em>Portrait of a man</em><br> (1475 ca.), National Gallery, London.<br> This was said traditionally to be a self-portrait by Antonello, but there is no evidence of the man's identity. </div></td> </tr> <tr class="noot"> <td colspan="3" valign="top"><p>During his stay in Venice, which was brief but marked by a series of masterpieces each more stunning than the other, the Sicilian painter developed the Ecce Homo theme in works of remarkable emotional intensity that move the viewer by humanizing Christ’s suffering with agonized realistic details. He also painted such gems as the small panel of Saint Jerome in his Study, with its dazzling spatial composition and unusual setting of a Renaissance study in a church aisle immersed in penumbra, and the small votive panels of Crucifixions from Antwerp and London. A crescendo of formal innovations and an unprecedented degree of viewer involvement peak in the Virgin Annunciate, from Palermo, in which a maiden, enveloped in her mantle, both hieratic and conscious of her role in the history of humanity, makes time stand still with her raised hand, and casts the viewer as the annunciating angel. The Salvator Mundi from London, second only to the Virgin Annunciate for the spatial virtuosity in the representation of the hands, and the so-called Trivulzio Portrait from Turin, a truly fine example of the characterization in Antonellian portraits, in which the sitter captures the viewer with his hypnotic and wickedly challenging gaze, were executed in 1476.<br> <br> The Sicilian painter’s artistic career culminated in two exceptional works: the Saint Sebastian, from Dresden, commissioned during a plague epidemic, in which the master’s skill in creating perspective reaches its height in the Venetian cityscape, and the Pietà, from the Prado in Madrid, probably executed after his return to Sicily, since buildings that actually existed in Messina can be glimpsed in the background.<br> <br> On 14 February 1479 Antonello made his will, and died two months later. Thus ended an extraordinary artistic career in which converged with unusual consistency and intensity – like sunrays seen through a converging lens – the different cultural roots that intertwined in the Mediterranean during that period of splendour known as the fifteenth century.<br> [Source: Antonello da Messina<em> | </em><a href="http://www.mostraantonellodamessina.it/eng/artist.html" target="_blank">www.mostraantonellodamessina.it</a>] <br>[2] <a name="2" id="2"></a> The restoration carried out on the “Annunciazione” (”Annunciation”), in collaboration with the regional Local Authority of Cultural Heritage and the Bellomo Museum, has been innovative. Two aspects were concentrated on by the staff of Basile, consisting of the restorers and conservers of fine art Albertina Soavi, Domenico De Palo, Beatrice Provinciali, Costanza Mora and Pala Minoja: above all, the reconstruction of the paint in the missing parts, covering 10% of the canvas, with the technique of watercolour sketching. Secondly, to give an impression of greater compactness of the work of art, also carried out was a darkening of the part of the canvas without a painted surface, which the technicians define as a “abbassamento ottico tonale” (a “lowering of tonal optics”).<br> [Source: <a href="http://www.regione.sicilia.it/beniculturali/palazzobellomo/antonello/annunciazione.html" target="_blank">www.regione.sicilia.it</a>]</p> </td> <td> </td> <td valign="bottom"><div align="center"><br> </div> <div align="center"><a href="/images/art/antonellodamessina/annunciazione4700.jpg"><img src="/images/art/antonellodamessina/annunciazione4200.jpg" width="200" height="246" vspace="2" border="0"><br> </a><em>Annunciation</em> (detail), Museo Nazionale di Siracusa</div></td> </tr> <tr> <td colspan="5" class="noot"><p class="noot"> <img src="/titels/notesp.gif" width="51" height="29" vspace="12"><br> <br> <span class="noottitel">Bibliografia<br> <br> </span>Eugenio Battisti, Antonello, il teatro sacro, gli spazi, la donna (Il labirinto), Editrice Novecento Palermo. ISBN 88-373-0021-2<br> <br> Stefano Zuffi, La pittura italiana, Mondadori 1998. ISBN 88-04-45057-6<br> <br> Simonetta Nava, La pittura del Rinascimento, Rizzoli 1999. ISBN 88-17-86148-0<br> <br> Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. ISBN 88-451-7212-0<br> <br> <img src="/titels/linksp.gif" width="40" height="29" vspace="15"><br> Art in Tuscany | Giorgio Vasari | <a href="/art/gutenberg/vasarilives.htm">Lives of the Most Excellent Painters, Sculptors, and Architects</a> | <a href="/art/giorgiovasari/lives/antonellodamessina.htm">Antonello da Messina </a><span class="noottitel"></span><br> <br> Antonello da Messina | Scuderie del Quirinale | <em>Una mostra che raccoglie per la prima volta i capolavori del grande Maestro del Quattrocento e getta nuova luce sulla biografia e le opere | </em><a href="http://www.mostraantonellodamessina.it/eng/exhibition.html" target="_blank">www.mostraantonellodamessina.it<br> </a>The "Antonello da Messina" exhibition, scheduled at the Scuderie del Quirinale from March 18th to June 25th 2006, was a unique event, bringing together – for the first time in history – virtually all of Antonello’s paintings that have come down to us.<br> Thanks to the generosity of some of the world’s major museums, the Scuderie del Quirinale displayed such undisputed masterpieces as St. Jerome in his Study from the National Gallery in London and the celebrated crucifixions from Antwerp and Sibiu (Romania).<br> <br> </p> <p></p></td> </tr> <tr valign="top"> <td colspan="5" class="noot"><p>Questo articolo è basato sulgli articoli <span class="noot"><a href="http://it.wikipedia.org/wiki/Antonello_da_Messina">Antonello da Messina</a></span> e <a href="http://it.wikipedia.org/wiki/Annunziata_di_Palermo" target="_blank">L'Annunciata di Palermo</a> dell' enciclopedia Wikipedia ed è rilasciato sotto i termini della <a href="http://www.gnu.org/copyleft/fdl.html" target="_blank">GNU Free Documentation License.</a><br> Wikimedia Commons contiene file multimediali su <a href="http://commons.wikimedia.org/wiki/Category:Antonello_da_Messina" target="_blank">Antonello da Messina</a> e <a href="http://commons.wikimedia.org/wiki/Category:Annunciation_by_Antonello_da_Messina" target="_blank">Annunciation 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href="http://www.poderesantapia.com/album/album10.htm"><img src="http://www.poderesantapia.com/images/album/may1200.jpg" width="200" height="133" vspace="5" border="0"></a></div></td> </tr> <tr valign="top"> <td class="noot"><div align="center">Montefalco</div></td> <td> </td> <td class="noot"><div align="center">Podere Santa Pia, giardino</div></td> <td> </td> <td align="center" class="noot">Podere Santa Pia </td> </tr> <tr valign="top"> <td> </td> <td> </td> <td> </td> <td> </td> <td> </td> </tr> <tr valign="top"> <td class="noot"><div align="center"> <p><a href="/engels/santantimo.htm"><img src="/images/surrounding/santantimo200.jpg" alt="Abbazia di Sant' Antimo" width="200" height="145" border="0"><br> </a><br> </p> </div></td> <td class="noot"><div align="right"></div></td> <td class="noot"><div align="center"><a href="/engels/firenze/santamariadelfiore.htm"><img src="/images/city/firenze/duomo200.jpg" width="200" height="156" vspace="2" border="0"></a></div></td> <td class="noot"><div align="right"></div></td> <td class="noot"><div align="center"><a href="/engels/firenze/santacroce.htm"><img src="/images/city/firenze/santacroce200.jpg" width="200" height="125" vspace="2" border="0"></a></div></td> </tr> <tr valign="top"> <td class="noot"><div align="center">The abbey of Sant'Antimo<br> <br> </div></td> <td class="noot"><div align="center"></div></td> <td class="noot"><div align="center">Florence, Duomo </div></td> <td class="noot"><div align="center"></div></td> <td class="noot"><div align="center">Santa Croce, Firenze </div></td> </tr> <tr valign="top"> <td><div align="center"><a href="/engels/terredisiena.htm" target="_self"><img src="/images/surrounding/terredisiena200.jpg" width="200" height="144" border="0"></a></div></td> <td class="noot"><div align="center"></div></td> <td class="noot"><div align="center"><a href="/engels/perugia.htm" target="_blank"><img src="/images/city/perugia/perugia3200.jpg" width="200" height="138" vspace="2" border="0"><br> </a></div></td> <td class="noot"><div align="center"></div></td> <td class="noot"><a href="../../engels/sansepolcro.htm"><img src="/images/city/sansepolcroduomo200.jpg" width="200" height="128" vspace="2" border="0"><br> </a></td> </tr> <tr valign="top"> <td class="noot"><div align="center">Crete Senesi, surroundings <br> of Podere Santa Pia </div></td> <td class="noot"><div align="center"></div></td> <td class="noot"><div align="center">Perugia</div></td> <td class="noot"><div align="center"></div></td> <td class="noot"><div align="center">Sansepolcro</div></td> </tr> <tr valign="top"> <td class="noot"> </td> <td class="noot"> </td> <td class="noot"> </td> <td class="noot"> </td> <td class="noot"> </td> </tr> <tr> <td width="200" valign="top" class="noot"> </td> <td width="43" class="noot"> </td> <td width="200" class="noot"> </td> <td class="noot"> </td> <td class="noot"> </td> </tr> <tr> <td colspan="5" valign="top" class="noot"> <p class="noottitel">The Siracusa art museum</p>The Museo Regionale di Arte Medioevale e Moderna in Siracusa (Syracuse), Sicily, has some fine Renaissance and baroque works by Antonello da Messina, Caravaggio, and Domenico Gagini houses in the Palazzo Bellomo.<br> The Palazzo Bellomo, just up Via Capodieci at Via Roma, was built between the 13th and 15th centuries.<br> It features a Catalan-Gothic staircase and courtyard, and is home to the Galleria Regionale di Arte Medioevale e Moderna.<br> The museum's collections<br> Neither of its two stellar works are in great shape, physically.<br> <br> Antonello da Messina's highly ruinous but still exquisitely painted Annunciation (1474) is the star of the show (pictured to the left).<br> Also important is Caravaggio's faded, but still moody, Deposition of Santa Lucia (1608; pictured to the right).<br> Other standouts include medieval and Renaissance sculptures on the ground floor—among which a Madonna by Domenico Gagini—and a comical early–17th century painting of angels ferrying the Madonna's house across the sea to Loreto with baby Jesus perched on the roof.<br> The collections are rounded out by 18th- and 19th-century carriages, livery, and furnishings, and ceramics, including a 15th-century Spanish/Moorish faience plate patterned in metallic reddish gold.<br> <br> Museo Regionale Abatellis - Home Page | <a href="http://www.regione.sicilia.it/beniculturali/palazzoabatellis/home.htm" target="_blank">www.regione.sicilia.it</a> </td> </tr> </table> </div></td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"> </td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"> </td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"> </td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"> </td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td> </td> <td colspan="3"> </td> <td> </td> </tr> <tr class="tekst"> <td> </td> <td></td> <td colspan="3"> </td> <td> </td> </tr> </table> 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