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The Annunciation
c. 1445/1450 · tempera on panel · National Gallery of Art, Washington
For the Annunciation · 25 March
Sizes
image 7.1×10 in on a 8×10 in sheet
What is dpi?
Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsAbout this painting
A garden waits at the end of a street, behind an open door in a salmon-coloured wall. Our Lady stands with one hand on her breast; the angel kneels with a lily. The Web Gallery of Art finds a pinhole in the right doorjamb, eight centimetres from the base of the door, and virtually every line recedes to it. The critic John Haber reads the garden beyond as the enclosed garden of Mary's virginity, which tradition kept shut; here the portal has no gate. Annunciations belonged in bedrooms, cloisters and churches. Fra Carnevale set this one in a street of Florentine buildings, and left its door open.
Sources: National Gallery of Art, Washington, 'The Annunciation', Fra Carnevale, 1939.1.218 · National Gallery of Art, artist page, Fra Carnevale · Web Gallery of Art, Fra Carnevale, 'The Annunciation', commentary · John Haber, 'Fra Carnevale: The Making of a Renaissance Master', Haber's Art Reviews, 2005 · Samuel H. Kress Foundation, Kress Collection, 'The Annunciation', K407 · Google Arts & Culture, National Gallery of Art, 'The Annunciation', Fra Carnevale
And the angel being come in, said unto her: Hail, full of grace, the Lord is with thee: blessed art thou among women.
Luke 1:28 · Douay-Rheims (Challoner)