B[ryson]. B[urroughs]. "Recent Loans." Metropolitan Museum of Art Bulletin 4 (September 1909), p. 154.
W. R. V[alentiner]. "Two Paintings Acquired for the Minneapolis Institute of Fine Arts." Art in America 2 (1914), p. 164, attributes it to the Master of the Saint Ursula Legend.
Max J. Friedländer. Die altniederländische Malerei. Vol. 2, Rogier van der Weyden und der Meister von Flémalle. Berlin, 1924, p. 129, no. 107g, calls it one of many similar compositions with the Virgin nursing the Child, one hand at her breast, that are derived from Rogier's composition of Saint Luke Painting the Virgin [original in Museum of Fine Arts, Boston]; ascribes it to a competent follower of Rogier, thoroughly in his style
Max J. Friedländer. Die altniederländische Malerei. Vol. 6, Memling und Gerard David. Berlin, 1928, pp. 62, 137, no. 120, mentions this picture among works in which the Master of the Saint Ursula Legend follows Rogier so closely that his personal style can hardly be recognized.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 75–76, ill.
Pierre Bautier. "Le maître brugeois de la légende de sainte Ursule." Musées Royaux des Beaux-Arts Bulletin 5 (March 1956), p. 5, fig. 2.
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, p. 121, rejects the attribution to the Master of the Saint Ursula Legend, calling the panel an anonymous work of the end of the fifteenth century.
Colin Tobias Eisler. "New England Museums." New England Museums [Les primitifs flamands, I: Corpus de la peinture des anciens pays-bas méridionaux au quinzième siècle, vol. 4]. Brussels, 1961, p. 106, publishes a letter from W. R. Valentiner mentioning this work.
Georges Marlier. "Le Maître de la Légende de sainte Ursule." Jaarboek / Koninklijk Museum voor Schone Kunsten (1964), pp. 17, 37, notes that the attribution to the Master of the Saint Ursula Legend has been contested and merits further discussion.
Max J. Friedländer et al. Early Netherlandish Painting. Vol. 2, Rogier van der Weyden and the Master of Flémalle. New York, 1967, pp. 83, 101 n. 99, no. 107g.
Giovanni Carandente. Collections d'Italie, I: Sicile [Les primitifs flamands, II: Répertoire des peintures flamandes du quinzième siècle, vol. 3]. Vol. 3, Brussels, 1968, p. 20.
D. Farmer. Primitifs flamands anonymes. Exh. cat., Groeninge Museum. Bruges, 1969, pp. 45, 203, ill.
Nicole Reynaud and Jacques Foucart. "Expositions: Primitifs flamands anonymes, 1969." Revue de l'art no. 8 (1970), p. 68, reject the attribution of this picture to the Master of the Saint Ursula Legend, noting its soft and uniform sweetness, as well as the linear drawing that derives directly from a Rogerian prototype, without the reinterpretation so characteristic of the Master.
Dirk De Vos. "De Madonna-en-Kindtypologie bij Rogier van der Weyden en enkele minder gekende Flemalleske Voorlopers." Jahrbuch der Berliner Museen 30 (1971), p. 127, fig. 60
, lists this panel with twenty-three other works derived from Rogier's composition of the Madonna and Child with Saint Luke; places ours with the sub-group associated with the Master of the Ursula Legend.
Molly Faries, Barbara Heller, and Daniel Levine. "The Recently Discovered Underdrawings of the Master of the Saint Ursula Legend's 'Triptych of the Nativity'." Bulletin of the Detroit Institute of Arts 62, no. 4 (1987), p. 19 n. 21.
Daniel Michael Levine. "The Bruges Master of the St. Ursula Legend Re-considered." PhD diss., Indiana University, Bloomington, Indiana, 1989, pp. 76–77, 87 n. 35, pp. 97–98, 115, nn. 27–28, pp. 143, 261–62, cat. no. N4, lists it with works no longer attributed to the Ursula Master and notes that "it shares in its contours the outlines of at least two other paintings in Brussels [Musées Royaux des Beaux-Arts de Belgique] and Cambridge, Mass. [Fogg Art Museum]," which are virtually identical in size; finds the hair-line similar to that which Friedländer associates with the Master, but the mouth not large enough, and the eyes almost "closed and invisible" in comparison with "the large, dark eyes so common to works ascribed to him".
Jeltje Dijkstra. "Origineel en Kopie: Een Onderzoek naar de Navolging van de Meester van Flémalle en Rogier van der Weyden." PhD diss., Universiteit van Amsterdam, 1990, pp. 129, 244 n. 401, p. 250 n. 457, calls it the left wing of an altarpiece ascribed to the Master of the Saint Ursula Legend, noting that the Virgin's head is treated in a similar manner in the Cambridge and Brussels versions; tentatively ascribes the latter to the same hand
Chiyo Ishikawa. "Rogier van der Weyden's Saint Luke Drawing the Virgin Reexamined." Journal of the Museum of Fine Arts, Boston 2 (1990), pp. 59 n. 26, p. 64, notes that according to Maryan Ainsworth, no underdrawing was visible when this work was studied with infrared reflectography, possibly due to the thickness of the paint.
Cyriel Stroo and Pascale Syfer-d'Olne. The Flemish Primitives I: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium. Ed. Elizabeth Moodey and Stanton Thomas. Vol. 1, The Master of Flémalle and Rogier van der Weyden Groups. Brussels, 1996, pp. 171, 173 n. 21, ill., calls the attribution of our picture uncertain, noting, however, that the Christ Child's head and face are stylistically closer to the Master of the Saint Ursula Legend than they are in the Brussels and Cambridge pictures.
Pascal d'Olne. Letter to Lisa Murphy. November 17, 1997, notes that when he superimposed a tracing of our panel on the version in Brussels the correspondence was rather faithful, although he found that the contours diverged in certain areas; considers it possible, nevertheless, that the two pictures derive from the same model.
Della Clason Sperling in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Ed. Maryan W. Ainsworth and Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 85, 224–25, no. 49, ill. (color), observes that it may once have been the central panel of a triptych, as plugged hinge holes are visible on both sides of the frame, which is original; believes that this panel and five other versions of the composition were made from the same pattern, most likely in the same workshop, presumably in Bruges.
Maryan W. Ainsworth in Byzantium: Faith and Power (1261–1557). Ed. Helen C. Evans. Exh. cat., The Metropolitan Museum of Art. New York, 2004, pp. 554, 572–73, no. 341, ill. (color) p. 572 and fig. 17.16, notes that while the Virgin and Child here have been extracted from Rogier van der Weyden's composition of Saint Luke Drawing the Virgin [Museum of Fine Arts, Boston], the artist has "shifted the representational emphasis from a contemporary timely narrative to an eternal iconic one in order to produce a 'living icon,' à la façon grèce".