The Annunciation by Fra Angelico

“The Annunciation” by Fra Angelico, dated 1440, and in Convent of San Marcos in Florence, Italy.

Christmas is a very special time for those of the Christian faith beyond the gifts, the trimmings, the parties, the festivities. For the Christian Christmas represents the birth of their Savior, Jesus Christ. He was born to save the world, to take upon Him all our sins.

An exquisite 15th-century Florentine work of art, “The Annunciation” by Fra Angelico, dated 1440, and in Convent of San Marcos in Florence, represents viscerally the moment the archangel Gabriel announces to Mary that she will bear the Son of God, The Son of Man, the one individual who will save mankind.

The scene is of the Archangel Gabriel visiting a young Virgin Mary to announce she would give birth to Jesus the Christ. This moment had been painted many times before, including by Fra Angelico, and this fresco is not the only artwork of the Annunciation found in the Convent of San Marco. The difference between Fra Angelico and his predecessors, however, is the environment shown. Whereas the angelic visitation previously had been depicted indoors, Fra Angelico is believed to have originated a novel composition of this famous scene and started a new trend, with Gabriel visiting Mary in an outdoor setting.

The scene takes place in a cloister, which is a covered walk, with arches and Composite columns featuring prominently. The Roman coposite columns display a style that combines elements seen in both ancient Greek and Corinthian columns. The middle column serves to separate the painting into two distinct spaces. The Roman arches give the composition a sense of balance, symmetry, and perspective.

The forms are graceful, the colors subdued. A light source warms the two figures in softness. Dressed in pink with multi-colored wings and a gold halo, the archangel Gabriel approaches the virgin Mary, gazing directly upon her. Gabriel’s arms are crossed over the heart area, as are Mary’s, symbolizing their acceptance of divine will and the magnitude of the message.

Young and sweet, Mary is astounded by Gabriel’s arrival. The viewer can see this in the expression on her face. She, too, has a gold halo, symbolizing holiness and her unique role as Jesus’ mother. A master of symbolism, Fra Angelico represented Mary’s innocence via the enclosed garden seen beyond the fence in the background. Her blue robes reflect her heavenly royal status as well as her humility.

The Thankful Poor by Henry Ossawa Tanner

Henry Ossawa Tanner, 1894, Oil On Canvas, Art Bridges

The portrait is serene and reverent: a grandfather with his grandson seated at a modest table, about to eat a simple meal together, pausing to give thanks. I am moved by the peaceful quality of the image, the simplicity and pragmatism of the items shown, the gentle glow of daylight from the window, and especially, the complete focus of the old man and young boy absorbed in prayer. The Thankful Poor emanates a sense of quiet fortitude, mutual respect, and genuine gratitude.

Painted in 1894 by Henry Ossawa Tanner, this artwork is a beautiful representation of the quiet moments shared between family members from different generations. The elderly gentleman exudes dignity as he mod- els a life of grace and faith for his grandson. Meanwhile, the child exhibits patience and restraint as he honors his grandfather’s wishes and prays to the Divine. There is a stillness that feels sacred. The painting depicts a comforting expression of love between two family members who clearly care deeply for each other.

Tanner was born in Pittsburgh in 1859 and grew up in Philadelphia. His father was a former slave who be- came a bishop in the African Methodist Episcopal Church. His mother had escaped slavery through the Un- derground Railroad. Tanner grew up in a household that valued education and counted educators like Booker T. Washington as close family friends. When he was about 12, inspired by a landscape painter working in Philadelphia’s Fairmount Park, Tanner decided to pursue a career in art.

In many ways he and his family were groundbreakers. Tanner became the first black student at the Pennsyl- vania Academy of Fine Arts. One of his sisters became the first woman certified to practice medicine in the state of Alabama. At the age of 41, Tanner won the coveted Lippincott Prize for his oil painting Nicodemus Visiting Jesus.

When he was thirty-two Tanner went to France to study. He ended up living there the rest of his life, dying in Paris in 1937 at the age of seventy[seven. In France he enjoyed an art career that flourished, bringing him acclaim from around the world. His Resurrection of Lazarus was purchased by the French government and eventually added to the Louvre. During his sixties, he was awarded high honors in both France and the United States. During the Clinton administration many years after Tanner’s death, one of his works, Sand Dunes at Sunset, Atlantic City, became the first painting by an African American artist to be added to the White House’s permanent collection.

The Thankful Poor offers us many insights. It shows that material wealth is not needed to be rich in spirit. In fact, it is often our struggles that lead to us turning to spiritual sustenance and, ultimately, inner growth. The pair in the painting may not have much, but they have what they need. Most of all, they have an unshakable inner faith and a love for each other to not only sustain them, but also enrich them. Tanner’s painting is an important reminder that our greatest riches are found not in what we own, but in our relationships and the heart.