Lionello Venturi. "Contributi a Masolino, a Lorenzo Salimbeni e a Jacopo Bellini." L'arte 33 (March 1930), p. 180, fig. 7, attributes it to Jacopo Bellini, relating it to his Madonnas in the Accademia in Venice and the Tadini Gallery at Lovere, both of which are signed.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 75, attributes it to Jacopo Bellini.
Lionello Venturi. Italian Paintings in America. Vol. 2, Fifteenth Century Renaissance. New York, 1933, unpaginated, pl. 333.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 17, The Renaissance Painters of Venice. The Hague, 1935, pp. 105–6, ill., dates it to the artist's early period, that is before 1450, noting the influence of Gentile da Fabriano.
Alfred M. Frankfurter. "The Great Venetians: Painting in American Collections." Art News 36 (March 26, 1938), p. 90, pl. 5.
Mina Gregori. "La mostra della Madonna nell'arte Liguria." Paragone 3 (November 1952), p. 59 n. 19, mentions it in comparison with two other works by Bellini of the period 1441–48.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 38, pl. 65, wrongly mentions it as belonging to the Fine Arts Gallery of San Diego.
Marcel Rothlisberger. "Studi su Jacopo Bellini." Saggi e memorie di storia dell'arte 2 (1959), pp. 78, 88, calls it workshop of Jacopo Bellini; erroneously places it in the [Percy] Straus collection, Texas.
U. Schmitt in Dizionario biografico degli italiani. Vol. 7, Rome, 1965, p. 710, dates it just after the Louvre Madonna which she puts in the 1430s.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 23, 321, 609.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 10, pl. 9, call it a typical work by Jacopo Bellini, related to his representations of the same subject in the Accademia in Venice, the Uffizi, Florence, and the Tadini Gallery, Lovere; suggest a date before 1448 on the basis of its archaic simplicity and gold ground; note that the picture's surface has suffered from paint loss, particularly in the figure of the Child.
Miklós Boskovits. "Per Jacopo Bellini pittore (postilla ad un colloquio)." Paragone 36 (January–May 1985), p. 122 n. 16, dates it before 1430.
Colin Eisler. The Genius of Jacopo Bellini: The Complete Paintings and Drawings. New York, 1989, pp. 33, 38, 298, 516, fig. 35, as his largest half-length Madonna, grand but much abraded; suggests a date in the later 1430s, noting the influence of Tuscan sculpture in the infant's head (although restoration may have "enhanced these Florentine qualities"); observes that the infant's nudity and life-size scale stress his "sacrificial, redemptive sinless nature".