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"annunciate" Definitions
  1. ANNOUNCE

30 Sentences With "annunciate"

How to use annunciate in a sentence? Find typical usage patterns (collocations)/phrases/context for "annunciate" and check conjugation/comparative form for "annunciate". Mastering all the usages of "annunciate" from sentence examples published by news publications.

Most observers agree that "Virgin Annunciate" is da Massina's greatest masterpiece; it certainly is his most mysterious.
A woman dressed as Mary emulates The Annunciate Virgin, a sculpture by Andrea della Robbia, circa 1505/1510.
The Virgin annunciate, usually overshadowed by the altarpiece's more colorful panels, appears here as a stand-alone masterpiece.
The idea is that it's funny to hear a 77-year-old television staple like Trebek annunciate Desiigner lyrics.
In the Annunciation patterning also spreads across the floor: Mary and the annunciate angel are precious gems — a ruby, a sapphire — in a celestial jewel box.
Upon reaching the outer limits of Salt Lake City airspace, I felt the cabin pressurize, the air conditioning stop and a warning tone annunciate in my headset and on the panoramic cockpit displays.
" Dylan didn't expect anyone to stick this on, gather around the fire with their family, and unconsciously hum along—he wanted people to hear him scuttle through "Here Comes Santa Claus" and annunciate through a Latin verse on "O Come All Ye Faithful.
CRC Press, 1998. Page 358. and either annunciate an alarm to notify the operator or automatically de-energize the motor when a faulty condition occurs. For overloaded conditions, motors are protected with thermal overload relays.
The Munich Virgin Annunciate is a painting by the Italian Renaissance artist Antonello da Messina. Like the more famous Palermo version of the same subject, it shows Mary interrupted at her reading by the Angel of the Annunciation.
In 1604 he helped re-establish the Franciscan Recollect convent in Boetendael, which had been badly damaged and abandoned in 1579. In 1616 he helped found the Annunciate convent in Brussels. In 1622, a year after her husband the Archduke Albert had died, Soto received Isabella's profession as a Franciscan Tertiary.Van Wyhe, p.
Antonello had returned to Sicily by September 1476. Works from near the end of his life include the famous Virgin Annunciate, now in the Palazzo Abatellis in Palermo, and the San Gregorio Polyptych. He died at Messina in 1479. His testament dates from February of that year, and he is documented as no longer alive two months later.
The Archangel Gabriel and the Virgin Annunciate Gallerie dell'Accademia Venice The entombment of Christ Jacopo da Montagnana, also known as Jacopo Parisato (Montagnana, circa 1440 to 1443 – Padua, 20 April and 14 Aug 1499) was an Italian painter of the early Renaissance who was mainly active in the Padua area.John G. Bernasconi. "Jacopo da Montagnana." Grove Art Online.
It is believed that this artist was Caldei. Flower garland surrounding the Virgin Annunciate In July 1651 Caldei married Giovanna de Poli, a widow. In the wedding contract, dated 6 July 1657, the amount of the dowry and its destination at the death of her husband were specified. On 21 November 1660 his wife wrote her will.
Harbison (1991), 158–162 She is sometimes shown reading a Book of Hours. She usually wears red. In the 1432 Ghent Altarpiece Mary wears a crown adorned with flowers and stars. She is dressed as a bride, and reads from a girdle book draped with green cloth,Dhanens (1980), 106–108 perhaps an element borrowed from Robert Campin's Virgin Annunciate.
Almost a year later, Volage captured two more privateers. On 6 September 1809 she captured Annunciate, of two guns and 40 men. Then on 20 September, Volage captured Jason, of six guns and 69 men. In June 1810, boats from Volage and , under the command of Captain John Duff Markland of Bustard, entered a port a few miles south of Cortone.
Severna Park (born 1958), real name Suzanne Feldman, is an American science fiction author and winner of the Nebula Award for Best Short Story (The Cure For Everything, 2001). Her first novel, Speaking Dreams from 1992, was a Lambda Literary Award nominee.Locus index to SF awards She was long-listed for James Tiptree Jr. Award in 1994 (Amazons) and short-listed in 1998 (Hand of Prophecy) and 2000 (The Annunciate).Gender-bending SF (James Tiptree, Jr. Award) on Internet Speculative Fiction Database She now writes mainstream fiction.
The Virgin Annunciate is a painting by the Italian Renaissance artist Antonello da Messina, housed in the Palazzo Abatellis, Palermo, region of Sicily, Italy. Probably painted in Sicily in 1476, it shows Mary interrupted at her reading by the Angel of the Annunciation. "The painting was bequeathed to the Museo Nazionale (later, the Palazzo Abatellis) in 1906 by the Cavaliere Di Giovanni, who had purchased it from the Colluzio family in Palermo..."Note by author Gioacchino Barbera, in Antonello da Messina : Sicily's Renaissance master, p. 46.
Volcanism 22 to 21 million years ago constructed the Coquihalla Volcanic Complex about northeast of Hope. It comprises volcanic and intrusive rocks that are calc-alkaline felsic to intermediate in composition. Coquihalla Mountain, the highest summit of the Bedded Range with an elevation of , is a major preserved stratovolcano and represents one of the few remaining Miocene volcanoes in southwestern British Columbia. As a result, the Coquihalla Volcanic Complex has been a subject of geological studies to annunciate the remains of what might have been an extensive cover of volcanic rocks during the early Miocene epoch.
Atrium of the palace, photo by Paolo Monti, 1961 St. Augustine by Antonello da Messina Virgin Annunciate by Antonello da Messina The palazzo, an example of Gothic-Catalan architecture, was designed in the 15th century by Matteo Carnelivari, at the time working in Palermo at the palazzo Aiutamicristo. It was the residence of Francesco Abatellis (or Patella), port master of the Kingdom of Sicily. After the death of Abatellis, it remained to his wife, and, after her death, it was given to a female monastery. Several modifications were carried on to adapt it to monastic life.
The large fresco of the Triumph of Death (most likely dating to 1445), is exhibited in the former chapel. On the first floor is the museum's most famous work, the Virgin Annunciate, by Antonello da Messina (15th century), considered among Italy's best Renaissance paintings. Also present are three panels with St. Augustine, St. Gregory the Great and St. Jerome also by Antonello, once part of a polyptych now destroyed, and Vouet's Saint Agatha's Vision of Saint Peter in Prison. The museum contains the Netherlandish Malvagna triptych by the Early Netherlandish painters Jan Gossaert and Gerard David, and a Deposition by Jan Provost.
In these two representations of the Virgin Annunciate and of the Archangel Gabriel, we find a further development of the artist's decoratively graceful and classical style as well as a recognition of the sculptural styles of Donatello, Ghiberti, and Michelozzo. Although the stock in trade of the Rossellino shop would have been the supply of building material and simple tasks of stonemasonry, several projects, combining sculptural and architectural features, were of particular significance during the 1440s. One, undertaken in the Palazzo Pubblico of Siena called upon him to design a grand entry way into the Sala del Concistoro.
Bernardino de Rossi, who worked at Pavia, was one of the artists called to Milan in 1490 to decorate the Porta Giovia Palace of Lodovico Sforza. In the church of Santa Maria della Pusterla, Pavia, is a picture of the 'Virgin, with Saints and Donors,' signed and dated by him in 1491. Between the years 1498 and 1508 he decorated the Certosa of Pavia with wall paintings, of which the frescoes of the 'Eternal,' the 'Prophets,' and the 'Virgin Annunciate' still remain. In 1511 he executed some frescoes for the church at Vigano, belonging to the Carthusians of Pavia, which have now disappeared.
Abraham Brueghel, the grandson of Jan Brueghel the Elder, introduced the genre into Italy where he worked for 40 years.Anne Betty Weinshenker, Resemblance, reality, and revenge: Nicola Van Houbranken's Portrait of François Rivière, In: Giovanna Summerfield, Vendetta: Essays on Honor and Revenge, Cambridge Scholars Publishing, 2010, pp. 81-92 An example of Caldei's efforts in this genre are a pair of garland paintings of flowers surrounding an image of the angel Gabriel and the Virgin Annunciate (Sotheby's, 10 April 2013 London lot 95). It has not been identified which artist painted the figures in the garlands, which are based on models by Guido Reni.
Francesco Mantovano, Flower garland surrounding the angel Gabriel and Flower garland surrounding the Virgin Annunciate at Sotheby's Caldei was also capable of reproducing other artist's models in his own compositions. A pair of canvases depicting a Still Life with Vase of Flowers in a Coastal Landscape Setting (Sotheby's, 7 July 2011 London lot 219) shows his good knowledge of Heintz' paintings.Francesco Mantovano, Still Life with Vase of Flowers in a Coastal Landscape Setting at Sotheby's They depict in the foreground vases with flowers, birds on the ground and in flight, a butterfly, a snail and in the background a seascape and glimpses of coastal cities surrounded by mountains.
The angel of the Annunciation, Orvieto. Monument to Ranuccio Farnese (detail). Mochi worked with Stefano Maderno on a prominent papal commission, the Cappella Paolina in Santa Maria Maggiore, where he contributed his still somewhat immature Saint Matthew and the Angel, in travertine. His first major work was the Annunciation of the Virgin by the Angel, composed of two statues (the Angel completed 1605, the Virgin Annunciate, 1608,Dates from Ian Wardropper, "A New Attribution to Francesco Mochi," Art Institute of Chicago Museum Studies (1991:102–119, 179), which summarises Mochi's career (pp 106f) in attributing to him an idealised Bust of a Youth at the Art Institute of Chicago.
The Virgin and the Angel Annunciate are two notable, monumental sandstone statues located on two pillars of the west crossing piers. Additionally there was a statue of a seated figure representing St. Peter within the main choir, but it is not there today. These sandstone sculptures were created by a man under the title of Erminoldmeister, and during the 13th century he was a significant contributor to monumental sculptures in Germany. The two mentioned statues completed in 1280 that still exist within the cathedral today, one representing Mary, mother of Jesus, and the other representing the angel Gabriel, juxtapose one another on their pillars.
The columns separating the three naves appear to be built with blocks alternating slate and marble, in the typical architectural style of Liguria, are actually two colors of brick covered with plaster. During the recent restoration work was discovered a burial which in all probability is the archbishop of Genoa Guido Scetten, poet and scholar, fellow student and friend of Petrarch. The abbey's altarpiece, the Cervara Altarpiece, was painted by Gerard David in 1506 and commissioned by Vincenzo Sauli, a Genoese official and banker. The original work, now dismantled, is likely to have been a three- tier polyptych including depictions of the Virgin and Child, two patron saints, the crucifixion of Jesus with the Angel Gabriel and Annunciate Virgin to either side, and God the Father.
They follow a Netherlandish model, the subject being shown bust-length, against a dark background, full face or in three-quarter view, while most previous Italian painters had adopted the medal-style profile pose for individual portraits. John Pope-Hennessy described him as "the first Italian painter for whom the individual portrait was an art form in its own right". Virgin Annunciate in the Palazzo Abatellis in Palermo Although Antonello is mentioned in many documents between 1460 and 1465, establishing his presence in Messina in those years, a gap in the sources between 1465 and 1471 suggests that he may have spent these years on the mainland. In 1474, he painted the Annunciation, now in Syracuse, and the St. Jerome in His Study also dates from around this time.
In 1512, the deliberations of the Florentine Signoria reveal that Nunziata and his friend Ridolfo Ghirlandaio were then working—alongside the painters Francesco di Niccolò Dolzemele, Jacopo di Francesco di Domenico, Bastiano di Bartolomeo Mazzanti, and Piero di Giorgio—on the decoration of the Palazzo Vecchio. Nunziata was paid in August of that year for painting nine coats of arms on the new windows that looked out over the dogana or customs-office. The anomaly of Nunziata's place in the history of art begins with his name—styled after none other than the Annunciate Virgin Mary. It was a name exceedingly rare in fifteenth-century Florence, whether in its male or female form. Indeed, the only other Florentine known to have received it during the fifteenth century was a foundling baptized in 1470—but significantly, even in this case her given name was ‘Onesta’, and she received ‘Nunziata’ only as her baptismal name (which would never be used again after the baptismal ceremony).
Maria di Ormanno degli Albizzi’s portrait-signature is placed in the central bas-de-page, or bottom of the page, for the first Sunday of Advent, which often hosted coats-of-arms, donor portraits, religious narratives, or patron saints and served as an index for the reader. This prominent location and the Latin signature convey Maria di Ormanno degli Albizzi’s pride and her social status as a member of the Florentine elite. A close study of the face and scroll shows they were first drawn in silverpoint, and then the nun’s habit, scroll, and border were painted. While it would not be within societal limitations for women to put their work, let alone their self portraits on display for many centuries, Maria di Ormanno degli Albizzi’s social status as a member of the Florentine elite, her references of filial piety in paying homage to her family, as well as doing so within a religious context allowed for her artistry to be displayed. At the same time, the pious pose and inscription echoes the words and gesture of the Virgin Annunciate, making her image imitate the Virgin’s humility, which would have been appropriate for an Augustinian nun.

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