Filippo Lippi, Martelli Annunciation, 1440

With perspective like that, it must be Filippo.

Painted for the Medici church of San Lorenzo, the Martelli Annunciation has been noted as Lippi's most satisfying piece of work. Symbolizing Filippo's ability to be both innovative and derivative, Lippi created one of the first square altarpieces, split down the middle, featuring Brunelleschi-inspired architecture with it's lack of traditional gothic embellishments. 

Filippo is also no stranger to the ways of the Flemish. The small vase at the bottom, called an Ampulla, shows up in many paintings from the Netherlands.

Finding a piece that represented Filippo Lippi was extremely difficult for there's much controversy over which works he actually painted himself. Commissioned by the Medicis, Filippo made a pretty heavy salary, allowing him to hire assistants to counterfeit his own work.

I truly believe this to be his true work for there is a crispness to the lines, vibrance to the colors and a softness in the facial expressions. There's not so much a blatant horror to Mary's face, rather a understanding acceptance with her arm extended as if to say, "You know what? I'm chill." The two angels, I assume to be waiting outside in case Mary loses her head and needs subduing, also have quite lax expressions. The one further back looks down at Gabriel indicating "the lady is cool," the angel in the front pointing as if to draw attention to the fact that this whole operation is more or less going down without a fight.

I hate conflict. In order to avoid it, oftentimes I'll agree to anything - no matter how insane, and no matter where my own opinion or desire may stand. Whatever creates less tension. However, catering to every whim and want, so as to not be caught in some conflict of interests, has ironically caused a bit of tension of its own due to my reluctance to make a decision. . 

*Sigh* 

At any rate, I chose this annunciation out of all Filippo Lippi's because I felt it represented both Filippo and myself rather perfectly.