Roger Fry. Athenæum (December 17, 1904), p. 851, considers it an original work by the Master of Flémalle.
C. J. Holmes. "Three New Pictures for the Metropolitan Museum of New York." Burlington Magazine 8 (1905), pp. 350–51, ill.
J. C. Robinson. "The 'Maître de Flemalle' and the Painters of the School of Salamanca." Burlington Magazine 7 (August 1905), pp. 387–88, 393, notes that many copies and versions exist; claims that the setting is the apse of the Old Cathedral of Salamanca, and on the basis of this and of the use of white and blue for the Virgin's robes concludes that the Master of Flémalle at least visited Salamanca.
J. C. Robinson. "The 'Virgin of Salamanca' by the Maître de Flémalle." Burlington Magazine 7 (June 1905), p. 238, ill. p. 239, states that this picture was acquired in Spain "many years ago," and attributes it to the Master of Flémalle.
"An Early French Master." Metropolitan Museum of Art Bulletin 1 (January 1906), p. 28.
Sir W. Martin Conway. "Durer's Works in Their Order." Burlington Magazine 13 (April 1908), p. 214, states that our version of this composition may be the original.
Morton H. Bernath. New York und Boston. Leipzig, 1912, pp. 54–55, ill.
Friedrich Winkler. Der Meister von Flémalle und Rogier van der Weyden. Strasbourg, 1913, pp. 7–9, considers our version the original, and notes that the apse is too generalized to be connected with the Salamanca Cathedral or with a type confined to Spain [see Ref. Robinson 1905].
Martin Conway. The Van Eycks and Their Followers. London, 1921, pp. 114–16, pl. IV, no. 4, considers it likely that our panel and the version in the National Gallery, London, come from Campin's shop; notes that the white-robed Virgin is often characteristic of Madonna pictures painted for Spain, and that the two music-making angels have a source in Italian art.
Max J. Friedländer. "Rogier van der Weyden und der Meister von Flémalle." Die altniederländische Malerei. 2, Berlin, 1924, pp. 75, 114–16, no. 74c, lists it among many known copies of a picture, no longer extant, painted about 1428 by the Master of Flémalle; considers those examples which, like ours, show the architecture in a perspective seen from above, nearest to the source picture, and supposes that the painting in the Julius Weitzner Gallery, New York, in 1967 [collection Hester Diamond, New York, 2002] gives the best idea of the original.
Friedrich Winkler. Die altniederländische Malerei: Die Malerei in Belgien und Holland von 1400–1600. Berlin, 1924, p. 70, refers to our picture as possibly the original.
Willy Burger. Die Malerei in den Niederlanden 1400–1550. Munich, 1925, p. 41, pl. 29, considers it the work of a pupil recording a lost work by the Master of Flémalle.
Jules Destrée. "Le Maître dit de Flémalle: Robert Campin." Revue de l'art ancien et moderne 54 (1928), p. 114, refers to the group of replicas as recording a lost work by the Master.
[Hippolyte] Fierens-Gevaert. "Les continuateurs des Van Eyck." Histoire de la peinture flamande des origines à la fin du XVe siècle. 2, Paris, 1928, pp. 9–10, 21–22, mentions it as one of many replicas of a lost original by Campin and cites Friedländer's date of 1428 for the source work [see Ref. 1924].
August Schmarsow. Robert van der Kampine und Roger van der Weyden: Kompositionsgesetze des Mittelalters in der Nordeuropäischen Renaissance. Leipzig, 1928, pp. 38–40.
Germain Bazin. "L'Esprit d'imitation dans l'art flamand: le thème de la Madone dans une abside." L'Amour de l'art 12 (1931), p. 495, fig. 55.
Émile Renders. La Solution du problème Van der Weyden-Flémalle-Campin. Bruges, 1931, pp. 66–68.
Alan Burroughs. Art Criticism from a Laboratory. Boston, 1938, pp. 210–11, considers the original prototype a youthful work by Campin.
Max J. Friedländer. "Über den Zwang der Ikonographischen Tradition in der Vlämischen Kunst." Art Quarterly 1 (1938), p. 22, places the prototype, generally ascribed to the Master of Flémalle, in the first decade of the 15th century.
Charles de Tolnay. Le Maître de Flémalle et les frères van Eyck. Brussels, 1939, p. 59, no. 1, mentions our picture as the best copy of the Campin composition.
Ernest Lotthé. La pensée chrétienne dans la peinture flamande et hollandaise. Lille, 1947, vol. 1, pp. 112–13.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 26–28, ill., as Workshop of Robert Campin.
Ludwig Baldass. Jan van Eyck. New York, 1952, p. 16 n. 1, p. 17 n. 1, calls Campin's lost original a work of the "second decade" and observes that it must have been executed "almost at the same time" as the central panel of the Seilern triptych.
J. V. L. Brans. Isabel la Católica y el arte hispano-flamenco. Madrid, 1952, p. 107 n. 13, lists a painting in the posthumous inventory of the possessions of Queen Isabella with the same theme as the Virgin of Salamanca, noting that our example of the Campin composition came from Spain.
Martin Davies. The National Gallery, London [Les primitifs flamands, I: Corpus de la peinture des anciens pays-bas méridionaux au quinzième siècle, 3]. 1, Antwerp, 1953, p. 62, mentions our picture in an extensive discussion of the version in the National Gallery, accepting the view that they are based on a lost prototype by Campin; dismisses Robinson's connection of the apse with the Old Cathedral of Salamanca [see Notes] and observes that it was not only in Spain that the Virgin was represented in white.
Erwin Panofsky. Early Netherlandish Painting: Its Origins and Character. Cambridge, Mass., 1953, vol. 1, pp. 175, 352–53, 426 n. 2 (to p. 175); vol. 2, pl. 104, fig. 222, calls the composition an early work by the Master of Flémalle, of which ours is the best replica, and notes Gerard David's and Quentin Massys's adaptations of this composition.
Ruth Massey Tovell. Roger van der Weyden and the Flémalle Enigma. Toronto, 1955, p. 32, refers to it as a work by Rogier van der Weyden.
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, pp. 48–49, 112, fig. VII, refers to ours as "if not the original, the best of the known copies," and dates the composition considerably earlier than 1428.
Colin Eisler. "Erik Larsen, Les primitifs flamands au Musée Metropolitain de New York, 1960." Art Bulletin 46 (March 1964), p. 101.
Mojmír S. Frinta. The Genius of Robert Campin. The Hague, 1966, p. 115, considers our picture and one in the Weitzner Gallery, New York [now Diamond collection, New York] the best of the variants.
Max J. Friedländer et al. "Rogier van der Weyden and the Master of Flémalle." Early Netherlandish Painting. 2, New York, 1967, pp. 43, 74–75, no. 74c, pl. 101, lists the copies and their whereabouts.
Charles D. Cuttler. Northern Painting from Pucelle to Bruegel. New York, 1968, p. 82, calls it an early shop copy of a work by Campin.
Martin Davies. Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin. London, 1972, pp. 253, 260.
Letters of Roger Fry. New York, 1972, vol. 1, pp. 26, 245 n. 4 to letter no. 164 (December 11, 1905), p. 255 n. 1 to letter no. 177 (March 2, 1906).
Grands noms, grandes figures du Musée de Lille, I: La Collection d'Alexandre Leleux. Exh. cat.Lille, 1974, p. 109, cites this Master of Flémalle composition as the prototype for a work after Joos van Cleve in the Musée de Lille.
Elisa Bermejo. La pintura de los primitivos flamencos en España. 1, Madrid, 1980, p. 93, as apparently coming from Spain at the end of the nineteenth century.
Larry Silver in Franklin W. Robinson and William H. Wilson. Catalogue of the Flemish and Dutch Paintings, 1400–1900. Sarasota, 1980, unpaginated, fig. 9a, mentions it in cataloguing the version in the Ringling Museum.
Frances Spalding. Roger Fry: Art and Life. Berkeley, 1980, p. 91, notes that this painting was acquired during Fry's first year at the Metropolitan.
Vinko Zlamalik. Strossmayerova Galerija Starih Majstora Jugoslavenske Akademije Znanosti i Umjetnosti. Zagreb, 1982, p. 302.
Larry Silver. "Fountain and Source: A Rediscovered Eyckian Icon." Pantheon 41 (April–May–June 1983), pp. 101–3, ill.
John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. London, 1984, pp. 230, 236, notes that Fry transferred this picture from panel to canvas, as he considered works on panel to be at "a serious disadvantage".
Duro Vandura. Nizozemske Slikarske Skole u Strossmayerovoj Galeriji, Starih Majstora Jugoslavenske Akademije Znanosti i Umjetnosti. Zagreb, 1988, pp. 114–16, ill., publishes a version of this composition in a Zagreb collection signed with the monogram "VIE?" and dated 1420, perhaps referring to the date of the prototype.
Hans J. van Miegroet. Gerard David. Antwerp, 1989, p. 280.
Marie-Léopoldine Lievens-de Waegh. Le Musée National d'Art Ancien et le Musée National des Carreaux de Faïence de Lisbonne [Les primitifs flamands, I: Corpus de la peinture des anciens pays-bas méridionaux au quinzième siècle, vol. 16]. Brussels, 1991, vol. 1, p. 113, interprets the crossed arms of the Virgin as an allusion to Christ's sacrifice; believes that panels like this one with the apse seen from above, a frontal Virgin and lute player, and the harpist in profile were at the beginning of the composition's evolution.
Maryan W. Ainsworth. "'The Virgin and Child in an Apse': Reconsidering a Campin Workshop Design." Robert Campin: New Directions in Scholarship. [Turnhout, Belgium], 1996, pp. 149–58, ill. (details, infrared reflectogram assembly, and x-radiograph), colorpl. 52, observes that although the panel has been transferred to a linen support and cannot, therefore, be dated dendrochronologically, none of the other extant versions can be dated much before the mid-fifteenth century; notes that similarities among these in technique and execution suggest that they were mass produced during the last quarter of the fifteenth century and that indulgences may have been attached to the image; compares infrared-reflectography and x-radiography of the MMA picture with that of the panel in the Diamond Collection and concludes that the MMA picture is the earlier work, its technique typical of the first half of the fifteenth century
Albert Châtelet. Robert Campin, Le Maître de Flémalle: La fascination du quotidien. Antwerp, 1996, pp. 162, 308–9, no. C4a, ill. pp. 163, 308, dates it "about 1420–25?"; calls it studio of Campin and notes that its pictorial matter is analogous with that of the master, but it lacks the vivacity of his handling.
Catherine Reynolds in The Dictionary of Art. 20, New York, 1996, p. 669, in regard to the numerous versions of the composition, finds that "the awkwardness of the apse . . . as well as the more obtrusively contrived elegance of the Virgin's support of the veil suggest that, if the design did originate with the Master of Flémalle, it would considerably antedate the Flémalle altarpiece [Städelsches Kunstinstitut, Frankfurt]".
Maryan W. Ainsworth. Gerard David: Purity of Vision in an Age of Transition. New York, 1998, p. 265, fig. 249.
Maryan W. Ainsworth. "A Meeting of Sacred and Secular Worlds." From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 65, 74, 81, 95, 211, 220–22, 252, no. 47, ill. (color), dates it about 1500 and calls it one of the earliest of the many versions of this composition.
Lorne Campbell. National Gallery Catalogues: The Fifteenth Century Netherlandish Schools. London, 1998, p. 102, notes that this picture and the version in the Diamond Collection, New York, are generally considered the most faithful to Campin's original.
Hélène Mund in Dirk Bouts (ca. 1410–1475): Een Vlaams primitief te Leuven. Exh. cat., Sint-Pieterskerk en Predikherenkerk, Leuven. Louvain, 1998, p. 236.
Zsuzsa Urbach. "From Connoisseurship to Art History: Case Study of an Early Netherlandish Painting in Esztergom." Acta historiae artium [Art-historical journal of the Hungarian Academy of Sciences] 42 (2001), pp. 27–28, ill.
Felix Thürlemann. Robert Campin: A Monographic Study with Critical Catalogue. Munich, 2002, pp. 190, 313–14, no. III.E.2/C, ill., attributes the original, which he dates about 1420, to a "student of Robert Campin," the Master of the Madonna before a Grassy Bench (Jan van Stoevere?), and links it with the painting of this subject in the Gemäldegalerie, Berlin; finds the facial type and hands of the Virgin, as well as the "long and slightly curved parallel lines of the folds in the drapery" not typical of Campin's work; considers our picture the only example of the composition that might possibly be the original.
Till-Holger Borchert. "Collecting Early Netherlandish Paintings in Europe and the United States." Early Netherlandish Paintings: Rediscovery, Reception and Research. English ed. Amsterdam, 2005, p. 207 [Dutch ed., "'Om iets te weten van de oude meesters'. De Vlaamse Primitieven—herontdekking, waardering en onderzoek," Nijmegen, 1995].
Important Old Master Paintings. Sotheby's, New York. January 25, 2007, p. 64.
Stephan Kemperdick in The Master of Flémalle and Rogier van der Weyden. Exh. cat., Städel Museum, Frankfurt. Ostfildern, 2009, pp. 186–87, fig. 111 (color) [German ed., "Der Meister von Flémalle und Rogier van der Weyden," Ostfildern, 2008], comments on the remarkably similar physiognomies of the Virgin here and in the "Madonna before a Grassy Bench" (Gemäldegalerie, Berlin), and on the chubby, round-headed type of Christ Child present in both works; notes that the underdrawing of the Berlin panel shows the Child's head and left arm in a position almost identical to that in our picture; concludes that "the original of this work [the MMA painting] must have belonged to the same context" as the Berlin picture.