Gentileschi painted this Annunciation during his stay in Genoa and sent it to Turin in 1623. In Rome the artist had had the opportunity to weave Caravaggio's creative path: in this painting he proved it with a striking quote from the painter's Death of the Virgin Lombard today in the Louvre, the sumptuously draped red curtain. However the light is warm, daytime, the drama is muffled, as almost always in Gentileschi's paintings. The Pisan painter sent the altarpiece to Duke Carlo Emanuele I, enclosing a letter in which he recalled the other services rendered to the family, probably alluding to the youthful Madonna in Glory and the Holy Trinity, originally intended to decorate the church of Monte dei Cappuccini and now in the collections of the Civic Museum of Ancient Art of Turin; In that correspondence, reference is also made to a painting depicting Lot and his daughters, long remembered in the Savoy inventories and pointed out by visitors and connoisseurs as one of the pearls of the collection of the House of Savoy. In this gesture by Gentileschi, not only the awareness of the quality of his work is evident, but also the ambition to place himself at the exclusive service of a court, a role that would have guaranteed him an economic position and social confirmation. Even the choice of the subject is to be considered carefully studied, since the Savoy family boasted the chivalric order of the Annunziata. While accepting the gift, the duke did not take this opportunity, and Gentileschi's career was projected towards the North, first Paris, and finally London.