The Anunciation And Expulsion From Paradise Summary

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Giovani di Paolo’s “The Annunciation and Expulsion from Paradise” is currently in the National Gallery of Art in Washington DC. According to the panel next to the artwork, the piece was finished in 1435 CE and made of tempera on panel. This Sienese altarpiece from the start of the Italian Renaissance shows the experimentation of form at that time. Giovanni di Paolo uses golden texture to display divinity, line to illustrate architectural perspective, and a strategic use of scale throughout the composition in order to portray the importance of the religious context. The golden foil that compliments tempera works at the time draws your eye to specific points in the piece. Drawing your eye to the upper left corner, the golden material then aids the eye in traveling down towards the bottom right corner. Because the largest golden form is in the upper right corner, your sight starts there. This is where god is represented and the symbol for divinity starts. Divinity implied by golden nimbuses or halos continue throughout the piece around the head of divine figures. The only two figures on the left without nimbuses represent Adam and Eve who are no longer divine one kicked out of paradise. This relates to the second part of the title, ‘Expulsion from Paradise.’ For obvious cultural reasons, the angels have the heavenly halos. One angel is specifically known, Archangel Gabriel, because of the annunciation scene with Mary in the center. Joseph, at the right, and Mary both also
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