Flemish school; second half of the 17th century.

Flemish school; second half of the 17th century.
"The Annunciation.
Oil on copper.
It has an important frame of the seventeenth century.
Measurements: 68 x 90 cm; 94 x 115 cm (frame).
This work clearly exemplifies the characteristic features of Flemish Baroque devotional painting. The subject, the Annunciation, is developed according to a compositional scheme that combines theological solemnity and narrative sensibility, integrating visual resources destined to intensify the spiritual experience of the spectator. The scene is articulated in two planes: above, above dense accumulations of clouds, the supernatural sphere is manifested with the figure of God the Father surrounded by cherubs, accompanied by the irruption of the dove of the Holy Spirit; below, in a domestic and serene atmosphere, the Virgin receives the message, represented with an introspective attitude and soft gesture, underlined by the presence of the lily and the book, symbols of purity and surrender.
The treatment of light responds to the codes of the northern baroque, where the golden and warm luminosity seems to emanate both from the divine realm and from the inner contemplation of the protagonist. The contrast between accentuated chiaroscuro and areas of half-light creates a vibrant and dramatic space, reinforcing the spiritual tension of the motif. The abundance of child angels and the dynamism of the clouds show the influence of the Flemish tradition in its most ornamental aspect, while the precision in the folds, the meticulousness of the copper back and the detail of the furniture reveal a careful technique, faithful to the material refinement that distinguished Flemish painters when they worked on metal supports.
In terms of quality, the whole shows a competent execution, with a palette rich in ochers, reddish earths and deep blues that support the mystical atmosphere. Although it does not reach the monumentality of the great Flemish masters of the century, it fully preserves the values of the school: narrative looseness, draftsmanship solidity, light effects and an orthodox iconography at the service of religious meditation. The result is a balanced and devout interpretation of the sacred episode, where the dialogue between the divine and the human is expressed through a clear, affective and typically baroque imagery.