Max J. Friedländer. Letter to Mr. Duveen. October 4, 1920, calls it an extraordinarily fine example of David's art and observes that the composition is "nearly the same" as in his paintings of the Rest on the Flight into Egypt in the Bosch collection (now Prado, Madrid) and the MMA.
Martin Conway. The Van Eycks and Their Followers. London, 1921, p. 286 n. 1, mentions this panel as a half-length replica, from the master's studio, of the painting in the Bosch collection.
Max J. Friedländer. Von Eyck bis Bruegel: Studien zur Geschichte der niederländischen Malerei. 2nd ed. [first ed. 1916]. Berlin, 1921, p. 191.
Max J. Friedländer in The Michael Friedsam Collection. [completed 1928], p. 139, considers the picture "worthy of the master and . . . in his manner, with the exception of the somewhat strange landscape".
Max J. Friedländer. "Memling und Gerard David." Die altniederländische Malerei. 6, Berlin, 1928, p. 154, no. 212c, considers it an excellent copy with a strange landscape.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 24, ill. p. 23, ascribe it to a follower of Gerard David noting that the color and finish are smoother and more porcelanous than in David's work.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 97–98, ill., ascribe it to a follower of David, observing that "the porcelain-like finish and the individual treatment of the foliage . . . betray the hand of an imitator, presumably a contemporary of David".
Ferdinando Bologna. "Nuove attribuzioni a Jan Provost." Musées Royaux des Beaux-Arts Bulletin 5 (1956), p. 29 n. 18.
Georges Marlier. Ambrosius Benson et la peinture à Bruges au temps de Charles-Quint. Damme, Belgium, 1957, p. 109, compares it with a half-length Madonna and Child in the Baare collection, Godesberg, which he ascribes to Benson, and notes that the undulating waves of the hair on our Madonna are not found in David's work, but are reminiscent of the treatment of the Virgin's hair in the Godesberg picture.
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, p. 7, notes incorrectly that this painting was attributed to David by Wehle and Salinger [see Ref. 1947], and states that he omitted the picture from his manuscript because he doubted its authenticity.
Colin Eisler. "Erik Larsen, Les primitifs flamands au Musée Metropolitain de New York, 1960." Art Bulletin 46 (March 1964), p. 100, observes that this painting was "quite correctly published by Wehle-Salinger as the work of a David imitator".
Edwin James Mundy III. "Gerard David Studies." PhD diss., Princeton University, 1980, pp. 33, 52 n. 53, p. 195 n. 69, ascribes it to David himself; identifies the subject as The Rest on the Flight and suggests that small panels of the subject were painted without a specific commission and were sold to clients in the shop.
Thomas Kren. Flämischer Kalender / Flemish Calendar / Simon Bening. Facsimile ed. Lucerne, 1987–88, pp. 203–23.
Hans J. van Miegroet. Gerard David. Antwerp, 1989, p. 265 n. 63, p. 302, no. 35b, catalogues it as related to David's Rest on the Flight into Egypt paintings.
Jean C. Wilson. "Connoisseurship and Copies: The Case of the Rouen Grouping." Gazette des beaux-arts, 6th ser., 118 (May–June 1991), pp. 192, 199, 204 n. 8.
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. 312–13, no. 83, ill. (color), catalogues the picture as "Attributed to Simon Bening," about 1520, and notes that the figures are excerpted from David's compositions of the Rest on the Flight into Egypt while the landscape is characteristic of Bening.
Maryan W. Ainsworth. Gerard David: Purity of Vision in an Age of Transition. New York, 1998, pp. 287–88, ill. (color).
Jean C. Wilson. Paintings in Bruges at the Close of the Middle Ages: Studies in Society and Visual Culture. University Park, Pa., 1998, pp. 91, 102–3, 219 n. 17, fig. 42, dates it about 1520–30.
Maryan W. Ainsworth. "Some Theories about Paper and Parchment as Supports for Early Netherlandish Paintings." Le dessin sous-jacent et la technologie dans la peinture. Colloque 12, Louvain-la-Neuve, 1999, p. 259, fig. 7, publishes our panel and a Virgin and Child in the Prado, Madrid, as Attributed to Simon Bening, seeing them as a natural evolution by this artist from manuscript illumination, to paintings on parchment mounted on wood, to panel painting.
Las tablas flamencas en la ruta Jacobea. Exh. cat., Claustro de la Iglesia de Palacio, Logroño. San Sebastián, Spain, 1999, p. 358.
Maryan W. Ainsworth. "Commentary: An Integrated Approach." Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies. New York, 2001, pp. 118–19, pl. 15 (color).
Maryan W. Ainsworth. "Was Simon Bening a Panel Painter?" Corpus of Illuminated Manuscripts 11–12 (2002), p. 1 n. 6, pp. 2, 4, 6, 12–13, 15, 17, ill. (color).
Maryan W. Ainsworth. "'Diverse patterns pertaining to the crafts of painters or illuminators': Gerard David and the Bening Workshop." Master Drawings 41, no. 3 (2003), p. 265.
Maryan W. Ainsworth in Thomas Kren and Scot McKendrick. Illuminating The Renaissance: The Triumph of Flemish Manuscript Painting in Europe. Exh. cat., J. Paul Getty Museum. Los Angeles, 2003, pp. 43, 453–54, no. 142, ill. (color).