The season of Advent and Christmas is the one time in the church year when we Protestants are, if not exactly enthusiastic, at least not too uncomfortable with talking about Mary, the mother of Jesus. Ever since Luther—or most likely Calvin—Protestants have had a problem with the Catholic devotion to Mary as the intercessor between sinners and God, choosing to see it as veneration bordering on idolatry, which takes away the proper focus on Christ. So we Protestants tend to keep her in a box for most of the year, taking her out like a favorite sparkly Christmas ornament at Advent and forgetting about her the rest of the time.
For centuries, Mary has been a favorite subject of artists, who have added to the image of sparkly Christmas-ornament Mary, or, as theologian Alyce McKenzie puts it, Mary as a “figure in a snow dome, silent, immobile, gazing at the manger.” The moment of God’s revelation to her that she would bear Jesus, called the Annunciation, has been of particular interest for painters. And there was a particular symbolism that grew up around her that artists used to communicate that this was a painting of the annunciation, particularly in Late Medieval and Early Renaissance paintings.
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