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Filippino Lippi's Carafa "Annunciation": Theology, Artistic Conventions, and Patronage

Gail L. Geiger
The Art Bulletin
Vol. 63, No. 1 (Mar., 1981), pp. 62-75
Published by: College Art Association
DOI: 10.2307/3050086
Stable URL: http://www.jstor.org/stable/3050086
Page Count: 14
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Filippino Lippi's Carafa "Annunciation": Theology, Artistic Conventions, and Patronage
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Abstract

Filippino Lippi's donor portrait is unconventionally integrated into his Carafa Chapel Annunciation. The paper suggests some of the complex reasons for this, with discussion of the theological meaning of the Annunciation; the greater intimacy artists established between portraits and divinities because of Netherlandish models, Alberti's theories and Dominican meditation imagery; and, finally, the predilections of the patron, Cardinal Oliviero Carafa, a major figure in Rome at the turn of the 16th century.

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