The Annunciation

In 1896, in the British magazine The Studio, Norman Garstin wrote about an exhibition in Saint Yves, Cornwall, where the artist lived: “Miss Bell has a picture of the Annunciation painted with great strength and in a flat and archaic manner.” This Annunciation to Mary by moonlight, against a background of lilies, symbol of virginal purity, emphasizes the inwardness of the figure, whose face only is illuminated. Dressed as a peasant, the Virgin is haloed by an outline of light, echoing the angel’s flaming hair. The canvas emanates a Symbolist spirit and displays a brush technique similar to the Nabis. In Canadian art, this painting is outstanding for its precocious modernity.