The Annunciation
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
Look past the angel. The street runs between colonnades to a salmon-coloured wall with an open door, and that is where the picture goes: a pinhole marks the vanishing point in the right doorjamb, eight centimetres from the base of the door, and virtually every line recedes to it.
Through that door is a garden. The critic John Haber reads it 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. 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), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 36,279 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.