Description:
It is likely that the painting's masterful design is Leonardo's own, even if the actual execution of most of the panel is not. The composition is divided into two unequal parts. A narrow area on the right is reserved exclusively for the Virgin, whose figure emerges strongly against the vigorous framing provided by the quoins at the corners of the building. On the left, the angel and landscape fill an extended oblong area. However, although the two parts are diversely conceived, they are harmonized and made continuous. This is party achieved by the connecting figure of angel; it estabhlishes a flow of action from the left side to the right as it moves toward the Virgin, who in turn responds to the angel's prophetic gesture. The pictorial unification is also achieved by the repetition of four pine trees arranged at approximately equal intervals across the painting; their verticality is echoed by that of the quoins ascending along the corner of the building. The long, low parapet behind the angel - interrupted just long enough to frame and emphasize the head, hand, and lilies - parallels and underscores the procession of trees and also finds its echo in the horizontal placement of each alternate quoin. Thus, the forms of nature are made to interact with architectural forms and with the figures they enclose.
You are viewing a Serigraph print. Fine artists create serigraphs in limited runs by applying layer upon layer of pigment to the print surface by pressing it through a mesh screen containing a stencil. The complex and lenghty process commonly uses inks for pigment and stencils made of a variety of materials. Because of the nature of the process each serigrph is unique.
You are viewing a giclee print. Each piece was created by a special process called "Giclee". Giclee is a computer generated print that is produced by the spraying of an image on to fine art paper. The inks used are specially formulated so that the fine print heads can spurt jets of ink in minute droplets. When prints are produced on fine art quality paper, the print should posses archival standards of permanence comparable or better than other collectible work.
You are viewing a hand colored print. The process begins with hand-pulled black & white decorative and antique reproduction prints. Each print is then individually designed and hand colored using the same methods of color application that were used throughout the 19th century, before modern color lithography. Individual artists meticulously paint each piece using the finest European watercolor paints on heavy mat, acid free, archival paper resistant to deterioration and discoloration. By combining old world craftsmanship with fresh design innovations, our artists create works of stunning depth and vibrancy that are absolutely beautiful and unique.
You are viewing a museum quality fine-art print. The prints we carry are produced using either the lithographic or serigraphic printing process and are printed on high quality archival acid free paper. Most prints are on a thick (120 pound or higher) stock of paper. Each print is of the highest museum art print reproduction quality and are supplied by the world's leading art publishers. These prints rival any detailed reproduction from their originals and are geared towards the discerning eye of the particular art collector.
Limited editions are a series of identical prints, which are limited to a one-time printing of a certain number of pieces. The artist determines the size of the edition, and usually signs and numbers each individual piece. Limited edition prints framed by the Fulcrum Gallery are handled separately and given the utmost individual care and attention, using archival framing materials and practices. Because limited editions are in limited supply, and are of exceptionally high quality, the price is generally at a premium to regular open edition prints.
