This is a large canvas (166 x 266 cm) painted in oil by the Italian painter Tiziano Vezellio. A religious-themed painting that can be seen in his hometown, Venice, specifically in the Scuola Grande de San Rocco, where he arrived in the year 1555, although it is estimated that the artist made it a few years earlier, around 1540.
The Annunciation by Titian
However, its location within the Scuola has changed, since today it can be seen in the Upper Room, while originally it would be on the stairs, next to the painting of the Visitation of Tintoretto, something that this other painter would undoubtedly be excited about, since when he opened his workshop in Venice he promoted it with the slogan that it offered “the drawing of Michelangeloand the color of Titian”. And the truth is that in the Scuola Grande of San Rocco there are some of the best works of Tintoretto like his spectacular Crucifixion
But back to Titian's work.
This is a scene from the Annunciation and therefore has three key characters: the archangel Saint Gabriel, the Virgin Mary and the Holy Spirit. In this case we see the arrival of the angel dressed in an elegant dress in red and white tones. A weightless figure that floats over the scene and with his hand makes the gesture of "announcement", that is, that Mary is going to conceive the Son of God
YShe is in an attitude of obedience, kneeling behind a wooden lectern, it would seem that she was dwarfed before such a design, but radiant by the light with which the Holy Spirit illuminates her, as so many other times represented by a white dove. It is not the only classic symbol that we see on the fabric, since there is also a bouquet of lilies, which are the image of Mary's purity.
All this, Titian sets it in a setting of classical forms, somewhat grandiose, which contrasts with the presence of more everyday elements such as the basket of woman's work. But it is clear that we are at the height of the art of the Renaissance, and any of the paintings that are made at this time have these kinds of classic settings.
And without a doubt, the type of checkerboard-shaped tiling that we also see here is typical of these settings. A floor that gives the scene its perspective and also a large two-tone surface. And speaking of color, we are obviously facing one of the greatest masters in all of history when it comes to the treatment of color. Not in vain, Titian is the maximum exponent of the chromatic splendor that represents the Venetian pictorial school, which regardless of the time, has always been characterized by its exquisite handling of color.