AND THE WORD IS MAKING FLESH The    Annunciation    is    revised    in    religious    simplicity, characterized    by    a    clear    composition,    along    vertical lines,   and   by   a   sober   chromatic   use.   The   dress   of   Mary and   the   veils   of   the Archangel   don't   follow   the   traditional iconography.   Each   figure   occupies   and   measures   the space   included   between   the   frontal   plain   and   the   back one,   lighted   (more   towards   Mary)   with   a   misty   light   that pervades   them   reflecting   in   their   faces   and   in   the   hands gathered   under   the   chin   of   the   Virgin   Mary   to   watch   over that   is   doing.   The   Archangel   holds   the   lily:   the   whole   is lyrically thin and incorporeal. The   austere   symmetry   of   the   two   postures   and   faces, very   intense,   expressed   with   firm   belief   and   coherence, communicates    the    participation    of    the   Angel    and    the trust   of   Mary,   by   the   linear   purity   of   the   contour,   that preserves   and   synthesizes   all   the   possible   grace   and aids in exalting the event. The   serene   and   inclined   faces,   the   closed   eyes,   the "gratia    plena"    of    their    expression,    the    atmosphere sharing   the   occurrence   and   the   silence   appropriate   to the   spatial   sense,   the   perspective   structure,   concur   to the    formal    unity    of    the    image    in    a    contemplative, spiritual and moral feeling.
And the Word is making flesh
The   incorporeal   figure   of   the   Archangel   agrees   with   extreme   consonance   to   the   gesture,   cleverly   concluded,   of   Mary's   hands gathered to defend the mystery that was making in Her. Look and look again at the serene and hieratic ovals of the two faces, you'll find out all you thought to have forgotten. As the painter writes: the darkness will be won.
Laura Ferretti  painter