Annunciation and Nativity 1452

Petrus Christus painted this diptych panel depicting the Annunciation and Nativity. Note the lilies held by the angel Gabriel, a symbol of Mary’s purity and virginity. This flower, rooted in antiquity, appears in various forms across cultures, from Minoan frescoes to Renaissance paintings, always signifying innocence or rebirth. Observe how the divine light illuminates Mary, an iconography linking her to celestial purity, an idea echoing through Byzantine mosaics and Gothic stained glass. But consider its appearance across various eras: in medieval tapestries, the lily might be a symbol of royal legitimacy; in pre-Raphaelite works, it conveys a more sensual, almost melancholic beauty. Each time it appears, it subtly shifts, mirroring the evolving emotional and cultural landscape. The way the characters are set brings to mind not only stories told in the Bible, but also feelings tied to childhood memories. The feelings and emotions tied to that are powerful forces which capture our viewers and connect on a very personal level. The evolution of the lily and its varied contexts demonstrate its cyclical progression, constantly resurfacing, evolving, and acquiring new meanings.