Leonardo da vinci annunciation

The Annunciation and Controversy, there are two versions of the picture.
Everything in this work is of a high poetic and stylistic quality: the handling of the figures and their attributes, the spatial construction, and the distant trees and watercourse, which attest to the artist's enduring love of nature.
The first work of the twenty-year old master, The Annunciation is not yet what one would call Leonardesque.In this reading, Mary represents humanity, accepting a role in saving mankind from itself.The wings were later extended by another artist.In this painting we understand the special attention of Leonardo da Vinci for the natural world.The painting illustrates the Archangel Gabriel on his knees with his right hand raised towards Mary in greetings in the Florentine palace garden.The Madonna is represented while reading a book placed on a bookstand whose decoration recalls the style of Florentine sculptures of 400, in particular the tomb of Piero the Gouty, executed by Andrea del Verrocchio (Leonardo da Vincis teacher).Verrocchio used lead paint and heavy brush strokes whilst Da Vinci used light strokes and no lead.The background landscape depicts tress and mountains under a grey and foggy sky.The background to this garden falls away into the mist, giving the picture an ethereal quality.
The second, produced between, has also been attributed to Da Vinci.
Uffizi Gallery in 1867.

Dozens of flowers decorate the lawn while beyond the boundary wall of the garden, a row of pine trees of different species defines the horizon, increasing the sense of remoteness of the small harbor.In the Renaissance period, images of the Annunciation were very uniform.Since then a preparatory drawing for the angel's sleeve has been recognized and attributed to Leonardo.Nowadays it easy to see the years before taglio viso tondo fronte bassa the twentieth century as a time of constraint for women, where they were not respected or schooled.It is typical of many depictions of the same subject matter from the Renaissance period, incorporating features that would be instantly recognisable to its audience of the time.The marble table, in front of the Virgin, probably"s the tomb of Piero and Giovanni de' Medici in the Basilica of San Lorenzo, Florence, which Verrocchio had sculpted during this same period.It is notably different to the first, showing some differences in form and lacking the attention to detail expected of a Da Vinci work.In turn it also symbolic of Mary herself, pure and protected from the world outside yet also fruitful and bearing the Son of God.He holds lillies, a signifier of Mary's purity and also of Florence itself where the work was painted.

In 1869, Karl Eduard von Liphart, the central figure of the German expatriate art colony in Florence, recognized it as a youthful work by Leonardo da Vinci, one of the first attributions of a surviving work to the youthful Leonardo.