The Annunciation

About the artwork

Leonardo gives the angel a grounded presence through the shadow on the grass and wings informed by the structure of a bird’s. The garden and distant landscape place the encounter within a coherent natural world. Mary’s book and lectern suggest an activity interrupted by the visitor’s arrival.

The Uffizi dates this oil panel to about 1472, when Leonardo was still associated with Verrocchio’s workshop. It measures 90 by 222 centimeters. The museum suggests that the unusual length of Mary’s right arm may relate to an intended view from the right and below, though the original commission and location remain unknown.

Featured in: The Mysteries of the Rosary in Art: 20 Paintings, One for Each Mystery

Featured in: The Life of the Virgin Mary in Paintings

Featured in: Luke 1 in Art: One Angel, Two Questions, and the Songs That Came Out of It

Featured in: Top 20 Beautiful Annunciation Paintings, Explained

What does Luke 1:38 mean?

Luke 1:26–38 records Gabriel’s announcement that Mary will bear Jesus, the Son of the Most High. Mary asks how this will happen, hears the promise of the Holy Spirit’s action and responds as the Lord’s servant. The paired verse is her acceptance at the end of that exchange.

The garden, lectern and lily belong to the artist’s setting and the visual tradition of the Annunciation; Luke does not specify them. They make the meeting recognizable and give Mary a place from which to respond. The narrative’s central movement remains a message received, questioned and accepted.

Mary’s responsive gesture accompanies the assent in Luke 1:38 within Leonardo’s carefully observed garden setting.

Sources

The Mysteries of the Rosary in Art: 20 Paintings, One for Each Mystery. Artwork reading adapted from this guide.

Luke 1 — Berean Standard Bible. Context for Luke 1:38.

Uffizi — Annunciation.