(#09) Domenico Veneziano - The Annunciation c.1442

This Annunciation is extremely special for me personally - it was the piece that I analyzed for my final paper during my stay at Pembroke College (University of Cambridge). This work is currently housed at the Fitzwilliam Museum in Cambridge. My first arrival at Cambridge was on a rainy afternoon. I got off the coach (bus) and unknowingly walked right passed the Pembroke College entrance where I was supposed to check in. I didn't know I was lost until I spotted the Fitzwilliam Museum. That summer, I've gotten to know the city better and visited Fitzwilliam as a class with the professor, Dr. Oldfield, and also on my own. It is literally a five-minute walk from my dorm room!

This piece was one of five panels for a main altarpiece of Santa Lucia dei Magnoli in Florence. The balanced/symmetric structure is evident - both horizontally from column to column, and vertically from the entablature above to the floor below. The liberal use of a the neutral/pastel peach is also consistent with the other panel pieces. The perspective skills applied to the piece is amazing. In person, I saw actual cut marks that are still visible on the painting as if the artist made mathematic measurements for perspective purposes.

Mary's crossed arms and bowing gesture suggests that she is in the submission (Humiliatio) condition, accepting the message from Angel Gabriel. The garden's closed door symbolizes Mary's virginity. It also creates a boundary and protection between her and the outside world. This piece is so peaceful, don't you feel that that we, as viewers, are interrupting their intimate moment?

Pembroke College, founded in 1347, is the third oldest college in Cambridge. To put it in perspective, UC Irvine was founded in 1965 - more than 600 years later.

Fitzwilliam Museum (founded in 1816).

(#08) Leonardo da Vinci - The Annunciation c.1472

Leonardo was just a young pupil of Verrocchio (see exhibit #6) when he executed this piece, and his genius is already apparent. The clothing is voluminous yet delicate. The sfumato technique is used here; sfumato is the gradation of tone in color to generate the illusion of a smoggy environment (used also in the Mona Lisa). Through this, the center landscape seems very far away. Mary sits in front of a dark corner, framed by the bricks on the wall. Note how all of the angles point toward her, highlighting her importance as she respectfully accepts the devine message. I think just the right half of the picture alone is a standout. And what a neat prie-dieu (the small table for the Bible)! Also located at the Uffizi, this piece is amazing to look at in person. The only criticism is on Mary's right arm. Does it look too long and a bit awkward to you?

The Uffizi - seen from across the Arno River.

The Uffizi - seen from the inner plaza...

(#07) Botticelli - The Annunciation c.1489

The Annunciation is perhaps the second most prolific topic in Renaissance paintings behind The Modonna and Child. It captures the scene when Angel Gabriel visits Mary and "announces" to her that she would give birth to the Son of God. Sandro Botticelli did multiple pieces on this topic. A lot of his paintings are located at the Galleria degli Uffizi in Florence, including this one. It is one of my favorites on this subject matter. It also appeared on the cover of the textbook we used that summer.

The clothing, particularly on Angel Gabriel, are drawn with remarkable skills. It's as if the angel had just made a sweeping landing into the room. I also just love his untucked wings. The folds on Gabriel's robe leads to his arm and hand, which in turn leads to Mary's. Gabriel's left hand is holding white lilies which symbolizes purity. Gabriel's mouth is slightly open, like he's about to deliver the sacre message: St. Luke's Gospel: "The Holy Ghost shall come upon thee, and the power of the Highest shall overshadow thee." Mary can be portrayed in five conditions in The Annunciation. Botticelli often prefers Conturbatio (or Disquiet), illustrating Mary as both astonished and amazed.

The use of perspective is strong in this piece. The tiles on the floor leads you to the distant background, which gives the picture a great sense of depth. The peculiar background with the strange architecture and landscape are indeed bizarre.

Two halves are seen: one with the angel with a bright background - fiat lux, the other with Mary in the darkness - coming into the light. The hands are the center of the picture and message: Annunciation and Acceptance.

Do they remind you of another famous pair of hands?

Hint...

(#06) Verrocchio - David c.1473

This is the third and last David that I studied at the Bargello in Florence (see exhibit #04 and #05). Note that all three pieces capture the moment after David, the shepherd boy, takes down Goliath with a stone from his sling, and decapitates the giant. Verrocchio would become a great Renaissance art master, whose pupil included Leonardo da Vinci, Ghirlandaio, and Sandro Botticelli. This Young David is much more open and explicit compared to Donatello's mysterious bronze version. Here, David is elegantly clothed, staring confidently at the viewer. It lacks the psychological complexity of Donatello's statue. (Don't worry, Michelangelo's will come.) Is he carrying a sense of innocence and unaware of his future reign as the King of Israel?

(#05) Donatello - David c.1409

Dontello's first David in marble is psychologically much simpler than his second David in bronze (see exhibit #04). This David faces forward and is likely meant to be view from straight on; the bronze version has a mystique that invites viewer to see it from all angles. Both scenes are clearly of the moment after David's triumph over the giant Goliath.

The elongated features shows this marble David's youthfulness and the Medival Gothic style of the piece. The head faces straight ahead as if he is gazing at a far distance, showing a bit of a boyish confident attitude. Goliath's grotesque decapitated head contrasts sharply with David's handsome outfit. Is this David posing a relaxed stance, captured at a moment of confidence, fatique, or even perhaps arrogance?

(#04) Donatello - David c.1430

As promised, we switch gears. We go from paintings to sculptures...

This is Donatello's second David (c.1430) and is one of my personal favorites. It is considered by many to be Donatello's most celebrated work. I first learned about it in Cambridge, and was mesmerized by this bronze statue at the Museo Nazionale del Bargello in Florence. It also served as the topic for my final paper for that summer course. It broke tradition and cemented Donatello as a sculptor with a great sense of individuality. Donatello’s work influenced other great artists since his time, including arguably the greatest artist of all, Michelangelo.

This life-size nude figure was ground-breaking at its time. Unlike other Davids that were depicting strong heroism. This bronze adolescent figure is elegant, sensual, and saint-like, his hat is reminiscent of Mercury. His relaxed stance is a contraposto (S-shape) pose over the giant decapitated head of Goliath. The tilted head is never meant to be in full view. The ambiguous facial expression adds to the mystique that inspires endless reflection.

Much more can be discussed on this piece, including: the symbolism on Goliath's helmet, its influence on future statues, its differences with Donatello's first David (c.1408), etc. I shall just briefly comment on perhaps the most controversial topic for this piece - its obvious androgynous features. The purported androgyny brings out much eroticism. One assertion is that a feminine body suggests that the triumph over Goliath is not due to brute force. Rather, the accomplishment is due to graceful feminine-like qualities, or alternatively due to God’s will. Donatello’s own alleged homosexuality is another explanation for the statue's sexual ambiguity. This David seems to be totally consumed in deep thoughts. Is he overwhelmed by his spectacular victory? Or by his own physical beauty?

The Bargello - a former barrack and prison in Florence - is now a revered museum.

The courtyard inside...

(#03) Gentile da Fabriano - Modonna & Child c.1425

Let's compare one more Modonna & Child piece before we move on to a different theme next time. This one is by Gentile da Fabriano. Note that blue is often the color of The Virgin's outfit. In particular, ultra-marine blue is most expensive, reserved only for principle characters. Though painted in the same era as Masaccio's work, it is of entirely different style. Gentile da Fabriano retained much of the Medival or Gothic style in his art. Specifically, the pointed frame and lack of perspectives are definite signs that this is not quite Renaissance. However, it is still an emotional piece. The Virgin looks away gravely while the Christ Child firmly holds onto His mother's cloak with His left hand. His right hand is holding a daisy, perhaps given from the angels, as a symbol of His innocence. Is that a white dove on the Child's belly, symbolizing the Holy Spirit, shielding Him and allowing Him to smile contendedly?

(#02) Masaccio - Modonna and Child c. 1425

"Modonna and Child" served as one of the major themes of Renaissance art (other common themes included: The Annunciation, The Deposition, The Pieta, and The Adoration.)

Compare the Raphael's "Modonna and Child with Book" c. 1502 (from my previous blog entry) with this earlier piece by Masaccio c. 1425 which I studied in London's National Gallery. The use of gold was more popular in earlier Renaissance as it signifies the wealth of the person commissioning the work. This trend, however, would later fade as artists become more interested in allowing their own skills to dictate the quality of their work. Nonetheless, Masaccio displayed great techical skills in painting a life-like baby. The use of shadow to show the baby's physique along with the baby's suckling gesture shows that Masaccio was a true master artist of his time. Interestingly, perspectives were used on the Christ Child's halo and the lutes of the angels, but not on Mary's nor the angels' halos. Symmetry is a classic trait of the Renaissance; this piece is almost perfectly symmetrical with the Christ Child as the focus. Unlike Raphael's piece, there seems to be little emotional interaction between the two central figures in this piece. The grapes and its red juices held by the Christ Child may be a symbol, foreshadowing His future blood and passion. Is the Mother looking away from her child, sadden by the Crucifixion that she already anticipates?

(#01) Raphael - Modonna & Child with Book c. 1502

The Norton Simon Museum in Pasadena. This is an art museum that I visited with school 12 years ago. I've passed by it many times since. After learning about Renaissance art in Europe, I've always wanted to visit this museum again. Along with other galleries, it has a gallery of Renaissance art - including works by Raphael, Botticelli, and Giorgione. There're no Michelangelo or Da Vinci pieces, but it's the closest thing to a Florence museum here in L.A. There also is a beautiful garden in the back as well. I didn't know that they actually allowed cameras inside, I'll definitely visit again and bring my camera. <http://www.nortonsimon.org/>. I hope to share more art with you in the future.

This "Madonna and Child with Book" piece is by Raphael (c.1502), a great Italian artist during the Renaissance. It displays an intimate interaction between the two figures. Notice that Modonna's dark hood seems to serve as an arch and protection for Baby Jesus from the background on the outside. Her right arm is gently supporting the baby; in return, he is delicately guiding her left hand with his own left hand. Interestingly, they are both holding a book to which neither is attending. Is the Christ Child looking towards the heaven, contemplating his ultimate faith, and sacrifice?

August 20, 2007 California ScienCenter

I visited the California Science Center <http://www.californiasciencecenter.org/> in Los Angeles. This museum is free with exhibits that are mostly for kids. But my purpose was to visited the adjacent IMAX theater. For under $10 USD, I saw two short science films. Now this IMAX (I-MAX for maximum image) is special for the screen is 7 floors tall and 90 feet wide, with quality audio. The first show I saw was about Dinosaurs!

This showing was extra special since it is presented in a 3-D format, audiences used 3-D glasses. Though the history and science may be a bit academic, it was still very entertaining, computer generated dinosaurs seemed to be inches away from my nose. The second showing was about bicycling in the Tour de France race.

It talked about the brain's role in competition. I particularly enjoyed the scenes of the French mountains and towns. It was a great experience. I may go back to watch their other show about the ocean. You may view trailers available at the website.