Abstract
Antonello da Messina's Palermo Annunciate (c. 1475) is usually construed as the equivalent of an icon. Relying on the iconography of the fifteenth-century Flemish Annunciation, Lorenzo Pericolo demonstrates that Antonello's panel must rather be interpreted as a "truncated" narrative in the form of an icon. From this premise, Pericolo also unveils the experimental charge of some pictorial devices used by Antonello, such as close-up, cut-in, and off-scene.
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