This retelling of the Annunciation story was inspired by the painting of the same name by Fra Angelico at the Monastery of San Marco in Florence. In Fra Angelico’s image the Virgin and the angel make eye contact. Mary looks alarmed and frightened, not demure or compliant as this scene is often depicted. The Seduction of Marian tells of what may have lead up to that moment, as it would have been experienced by a thirteen girl.
The Seduction of Marian
$600.00
Description
This retelling of the Annunciation story was inspired by the painting of the same name by Fra Angelico at the Monastery of San Marco in Florence. In Fra Angelico?s image the Virgin and the angel make eye contact. Mary looks alarmed and frightened, not demure or compliant as this scene is often depicted. The Seduction of Marian tells of what may have lead up to that moment, as it would have been experienced by a thirteen girl.
The images are black and white wash drawings which were printed digitally as was the light gray text. The black text and headings were set in Gil Sans Light by Michael Bixler of Skaneateles, New York, and was printed by Art Larson at Horton Tank Graphics, in Hadley, Massachusetts.
The book is printed on Stonehenge warm white, with pages measuring 9 ? inches by 6 ? inches. The cover has a paper wrapper with a digital image, and is held in a cloth chemise, with a printed label. Owen completed the binding with the help of Elena Bouvier, in her studio in Philadelphia, Pa. The book was printed in an edition of thirty, signed by Owen.
Claire Owen | Turtle Island Press
Description
This retelling of the Annunciation story was inspired by the painting of the same name by Fra Angelico at the Monastery of San Marco in Florence. In Fra Angelico?s image the Virgin and the angel make eye contact. Mary looks alarmed and frightened, not demure or compliant as this scene is often depicted. The Seduction of Marian tells of what may have lead up to that moment, as it would have been experienced by a thirteen girl.
The images are black and white wash drawings which were printed digitally as was the light gray text. The black text and headings were set in Gil Sans Light by Michael Bixler of Skaneateles, New York, and was printed by Art Larson at Horton Tank Graphics, in Hadley, Massachusetts.
The book is printed on Stonehenge warm white, with pages measuring 9 ? inches by 6 ? inches. The cover has a paper wrapper with a digital image, and is held in a cloth chemise, with a printed label. Owen completed the binding with the help of Elena Bouvier, in her studio in Philadelphia, Pa. The book was printed in an edition of thirty, signed by Owen.
Claire Owen | Turtle Island Press
