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SANDRO BOTTICELLI |
Annunciazione |
Uffizi, Sala 10-14 |
Versione breve | La narrazione è di Diana Kong, la voce di Lucilla Giagnoni |
Leggi la scheda completa dell'opera su uffizi.it
Sandro Botticelli | Annunciation (detached fresco)| Room 10-14
This fresco was painted for the Church of San Martino at the Spedale di Santa Maria della Scala in Florence, where abandoned children were taken in. Right away I think: this is why Mary's arms are empty and she wears a frown. I don't think that in this world there exists a mother who truly wants to leave her child! For sure, there must be an unspeakable reason to do so.
From 1478 to 1479, Florence was struck by a terrible plague; many of the victims were buried in the monastery attached to the church. In 1481, Botticelli was paid for the creation of an Annunciation, probably a votive offering to the Virgin Mary for the end of the epidemic. The background filled with a quiet and beautiful nature could comfort people. The angel could bring them good news. I do not believe it is by chance that the angel's point of view is the one from which to admire the entire scene. The fresco was located in the loggia before the church entrance, right on top of the door, and the angel was seen right in the centre by those who entered.
It was the Annunciation, and not the Spring that struck me when I entered this room. Its light and transparent colors gave me a sense of peace; the wide-open space made me breathe. Mary’s home overlooks this space. It is a rich household. In the shadows of the room there is a very clean and well-made bed, too much so: I would not like to sleep on this bed. What I love is the air that moves through the arches. Natural light filters through the enclosed garden, and beyond, a landscape.
In China I lived with my family in a large apartment, but from our windows we could only see the skyscraper in front of us. It's unpleasant to not have an open view. If I had a house like this, it would be perfect. However, if I were living alone in such a big space, I would not be happy. Just as my parents feel the house is silent since I left.
I look at the Virgin in the fresco. She looks a bit sad and solitary. The canopy, carpet and lectern create a space of her own, where she can feel close to God. Her arms seem to create a space for a child who is not there yet.
An imaginary door has just opened in front of her. A strange wind accompanies the arrival of the angel. His feet have not yet touched the ground. The news he is bringing to Mary travels through the light.
In the space between the angel and Mary, I immediately felt how distant my family is. Every time I travel, I send a postcard to my mother. She collects them all in a box. They are important to create a memory, a story we can share; otherwise, not much would remain of these years spent far away from each other.
The postcards do not always arrive in the order in which I sent them; some get lost, but it is not important. In this world, nothing is perfect.
The angel comes to bring news about me to my family. The angel will then leave, and Mary will be alone again.
The environment where Mary lives is open, full of air. The precious marble patterns of the floor make the scene even dreamier. An ideal world, but one within reach, if only we were able to give ourselves space and time.
This home has no doors. Outside there is no one. In the distance, the poetry of nature. It will soon be dusk.