Baroque · 1631
The Annunciation (Matthias Stom, 1631)
Matthias Stom (1600–1650) sukūrė The Annunciation. Šis kūrinys datuojamas 1631 m. Šis kūrinys priklaulo Baroque kieruliui. Pagaminta naudojant Oil On Canvas. Eksponatas saugomas Kunsthistorisches Museum Viena, Austrija. Dimensijos – 117 × 171.5 cm.
- 1631
- Oil On Canvas
- 117 × 171.5 cm
- Kunsthistorisches Museum, Viena
The Annunciation, trumpai
- Pavadinimas
- The Annunciation
- Autorius
- Matthias Stom (1600–1650)
- Dizainere/is gimęs
- Amersfoort, Netherlands
- Data
- 1631
- Mediumas
- Oil On Canvas
- Matmenys
- 117 × 171.5 cm
- Kur galima pamatyti
- Kunsthistorisches Museum, Viena, Austrija
- Judėjimas
- Baroque
- Laikotarpis
- Early Modern
- Tema
- woman, angel, lily, red cloak, blue drapery, wings
Ką vaizduoja The Annunciation?
Identification of The Annunciation by Matthias Stom
The Annunciation is an oil on canvas by Matthias Stom. This work captures a specific biblical scene where the Virgin Mary is visited by an angel. She is often depicted in the act of reading when the divine messenger arrives to deliver the news. The painting measures 117 x 171.5 cm.
The artist, Matthias Stom, was a Dutch painter who spent many years in Italy. This particular piece was created about 1631. It focuses on the intimate, silent moment of revelation between the celestial visitor and the woman. The scale of the canvas allows for a heavy presence of light and shadow within the sacred encounter.
Technical Details and Artistic Influence
The oil on canvas carries the weight of the Baroque and Caravaggesque style. Light acts as a sculptor here, carving form out of a dark, atmospheric void. This technique relies on a sophisticated command of chiaroscuro, where a strong light source from the upper right illuminates the faces and hands of the subjects. Such dramatic contrast defines the religious art of the period, grounding the divine encounter in a tangible, physical reality.
Stom’s hand moves with a quiet precision. Smooth brushwork renders the fine details of the scene, from the delicate texture of the lily held by Gabriel to the heavy, sculptural folds of the drapery. This meticulousness reflects a Northern sensibility applied to the intense, tenebristic traditions of Italy. The artist’s style emerged from a convergence of influences, absorbing the dramatic lighting of the followers of Caravaggio and the heavy, emotive realism found in the works of Jusepe de Ribera and Peter Paul Rubens.
The composition relies on organic, fluid shapes and a shallow perspective. By overlapping the figures, the artist creates an intimate space that pulls the viewer into the immediate tension of the revelation. The interplay of deep blues, vibrant reds, and warm golds against earthy shadows creates a sense of weight and texture. It is a study of light emerging from shadow.
Current Location and Museum Collection
The oil on canvas resides within the Kunsthistorisches Museum in Vienna. It is held as part of the Gemäldegalerie collection. The work carries the accession number 5806. This specific piece is also associated with the Galleria degli Uffizi in Florence.
The painting remains a physical presence in these halls. It rests under the quiet stewardship of these institutions. A shadow of its history connects it to both Vienna and Florence. The light of the gallery finds the surface of the canvas.
Kuriame muziejuje eksponuojamas karya The Annunciation?
Kunsthistorisches Museum
Viena, Austrija
Kunsthistorisches Museum istorija Vienoje, Austrijoje, įdidysis Kunsthistorisches Museum gimė iš troškimo suteikti viešumui galimybę pažvelgti į neįtikėtiną Habsburgų šeimos kolekcijų turtą. Imperatoriaus Francio Josapo I užsakytas šis institutas buvo įsteigtas 1871 metais, kad suteiktų saugyklą imperatoriškoms meno kolekcijoms. Tai buvo milžiniškas projektas monarchijai, siekiantis privačius brangumus transformuoti į viešą meno erdvę.
The Annunciation dididraudžios kokybės vaizdai
Viešoji domenė: suregalis mirė 1650 m.
Kiti dydžiai, iškarai ir citavimo informacija →Matthias Stom, The Annunciation (1631), Kunsthistorisches Museum. Viešoji domenė.
Atsakimai į klausimus apie The Annunciation
Kuriam muziejui priklauso originalus „The Annunciation“?
Originalų kūrinį „The Annunciation“ galite pamatyti Kunsthistorisches Museum, Viena, Austrija.
Kokia yra „The Annunciation“ – Matthias Stom kūrybos data?
„The Annunciation“ – Matthias Stom sukurtas 1631 m.
Kokia technika buvo panaudota kūriniam darbui „The Annunciation“ – Matthias Stom?
„The Annunciation“ technika – Oil On Canvas.
Kokie yra originalaus „The Annunciation“ – Matthias Stom matmenys?
Įrašyti kūrinio „The Annunciation“ – Matthias Stom matmenys yra 117.0 x 171.5cm. Kopijas galima užsisakyti kitais dydžiais, išlaikant tą pačius proporcijas.
Ką vaizduoja „The Annunciation“ – Matthias Stom?
Darbos „The Annunciation“ temos yra woman, angel, lily, red cloak, blue drapery, wings, hands.
Ar „The Annunciation“ – Matthias Stom priklauso viešosios teisės domenui?
Kalbant apie autorišką teisę, „The Annunciation“ yra yra viešosios erdvės dalis – jo autorinė teisė pasibaigusi.
Kas sukūrė „The Annunciation“?
„The Annunciation“ priskiriamas Matthias Stom.
Kokiam meno stiliui priklauso „The Annunciation“ – Matthias Stom?
Kūrinio „The Annunciation“ – Matthias Stom stilius – Baroque. Ši klasifikacija leidžia šį darbą įtraukti į bendrą susijusių menininkų ir kūrinių kontekstą.
Kokio Matthias Stom kūrybos laikotarpio priklauso „The Annunciation“?
„The Annunciation“ atspindi Matthias Stom kūrybinį laikotarpį Italian Period.
Apie šį menininką, Matthias Stom
1600–1650, Netherlands
Matthias Stom
Stomer Mathias: A Caravaggist’s Journey Through Italy The name Stomer Mathias, a figure shrouded in the mists of 17th-century art history, represents a fascinating convergence of Dutch artistic training and Italian Caravaggesque influence. Born around 1600, likely in Amersfoort, Netherlands – though definitive proof remains elusive – Mathias’s life was one dedicated to mastering and adapting the dramatic style pioneered by Michelangelo Merisi da Caravaggio. He wasn't a household name during his lifetime, often overshadowed by more prominent contemporaries, yet his output of approximately 200 paintings offers a compelling glimpse into a pivotal period in European art. Early accounts suggest Mathias received his initial artistic education within the Utrecht Mannerist tradition, possibly under the tutelage of Abraham Bloemaert and Joachim Wtewael – artists known for their meticulous detail and refined compositions.