Monday, June 20, 2016

Praying the Angelus with Art: This Week's Image

Early 14th century (French Gothic) clasp from a vestment (cope?) depicts the Annunciation. From the Walters Museum of Art.

Monday, June 13, 2016

Praying the Angelus with Art: This Week's Image


Annunciation by the Master of the Triptych, from the Metropolitan Museum of Art.

About the artist (from the Museum site):
This master is recognized as the enameler of a triptych with a central scene of the Annunciation flanked by donor portraits of Louis XII of France (1462–1515) and his queen, Anne de Bretagne (d. 1514), painted between 1499 and 1514. Now in the Victoria and Albert Museum, London, that triptych is arguably the most beautiful early sixteenth-century Limoges enamel in existence. This plaque is a variant of the London triptych’s central panel.

Workshop of Master of the Triptych of Louis XII
(ca. 1490–ca. 1515)
Date: probably early 16th century
Culture: French, Limoges
Medium: Painted enamel on copper, partly gilt

Monday, June 6, 2016

Praying the Angelus with Art: This Week's Image

The Annunciation, by Mikhail Nesterov 
For a very different rendering of the same scene by the same artist,
see the Angelus Project post from April 4 (this year's Solemnity
of the Annunciation).

Monday, May 30, 2016

Praying the Angelus with Art: This Week's Image


This week's image, from the Walters Museum of Art, is part of a 14th century triptych featuring the
Annunciation, Presentation, Crucifixion, Coronation on the side panels surrounding the Enthroned Virgin, holding the Christ Child. A tiny goldfinch (symbol of resurrection) is nestled in the boy's hand. 
In this panel, notice how how the Virgin’s draping garment at the crucifixion above “dips” into the Annunciation frame.  

Monday, May 23, 2016

Praying the Angelus with Art: This Week's Image

In Ancilla Domini (1896) by Australian artist Rupert Charles Wulsten Bunn, Mary and Gabriel occupy two different "worlds," set apart by both the floor level and the background. Gabriel, in front of a red curtain (evoking the scarlet of the Temple drapes?) is here standing upright, rather than in the more common genuflected posture.  Mary's position is elevated, as if in a raised sanctuary, but she is on her knees to accept the divine invitation. Behind Mary, on the back wall, there is a scene of the expulsion of Adam and Eve from Paradise: Mary, the new Eve, if about to "untie the knot" by which our first parents bound us in slavery to sin.

Monday, May 16, 2016

Praying the Angelus with Art: This Week's Image

With the return to Ordinary Time, we resume the weekly image of the Annunciation.


This bas-relief appears on the right side of the Cathedral (Duomo) of Florence. Photo by Sr. Sergia Ballini.

Another call to promote the Angelus

As the Easter season reaches its culmination in the outpouring of the Holy Spirit, we pray our final "Regina Coeli" of the season and begin again with the thrice-daily Angelus.

A post in the National Catholic Reporter encourages the prayer of the Angelus from a social-justice perspective.



In the image: the Archangel Gabriel is all that remains of an ancient Annunciation fresco in Santa Maria Antiqua in the Roman Forum.