References J. D. Passavant. Kunstblatt (January 12, 1841), p. 9, states that these panels were the wings of a triptych acquired from an auction at a monastery in Spain by Tatistcheff, from which the center, an Adoration of the Magi, had been taken; attributes them to the brothers Jan and Hubert van Eyck; believes two figures beneath the cross are portraits of the brothers and a third a portrait of Margaret van Eyck; notes traces on reverse of panels of two standing figures on pedestals, painted in grisaille.Les trois frères Van Eyck . Bruges, 1848, p. 87 [first published in Société d'émulation pour l'étude de l'histoire et des antiquités de la Flandre, Bruges, ser. 2, vol. 5, 1847; see Ref. Wehle and Salinger 1947], as works of the Van Eycks.Die Christliche Kunst in Spanien . Leipzig, 1853, p. 123, as works of Jan van Eyck.Die Malerschule Hubert's van Eyck nebst deutschen Vorgängern und Zeitgenossen . 2, Berlin, 1858, pp. 169–70, believes they may be by a pupil of the Van Eycks, most likely painted before Hubert's death.Histoire de la peinture flamande depuis ses débuts jusqu'en 1864 . 2, 2nd ed. Paris, 1866, p. 199 n. 2, p. 204 n. 1, accepts Passavant's [see Ref. 1841] hypothesis that the panels contain portraits of the Van Eyck brothers and their sister Margaret.Ermitage Impérial: Catalogue de la galerie des tableaux . 2, 2nd ed. St. Petersburg, 1870, pp. 4–5, no. 444.Die Gemäldesammlung in der Kaiserlichen Eremitage zu St. Petersburg . 2nd ed. St. Petersburg, 1870, pp. 116–17, no. 444, notes that Tatistcheff purchased them in Spain as the work of Jan van Eyck, but based on parallels between the Last Judgment and a painting of this subject in the Gemäldegalerie, Berlin, signed and dated by Petrus Christus, attributes the wings to Christus in a considerably earlier period.The Early Flemish Painters . 2nd ed. London, 1872, p. 143, attribute them to Petrus Christus.Gazette des beaux-arts 19 (1879), pp. 574–75, questions the attribution to Petrus Christus.Geschitchte der bildenden Künste . 8, Stuttgart, 1879, p. 155 n. 1, ascribes them to an immediate pupil of Jan van Eyck.Zeitschrift für bildende Kunst 22 (1887), pp. 244–45, ascribes them to Jan van Eyck.Hubert und Jan van Eyck . Bielefeld, 1898, pp. 42–43, 52–56, ill., suggests they are early works of Jan, or even of his sister, Margaret; notes that the wings were transferred from panel to canvas when they were acquired by the Hermitage.Jahrbuch der Königlich Preussischen Kunstsammlungen 19 (1898), pp. 202–5, compares these panels to the Crucifixion in Berlin and ascribes them to Jan van Eyck.Die Werke des Jan van Eyck . Strasbourg, 1900, pp. 106–7, 132–33 nn. 67–68, agrees with Justi [see Ref. 1887] that these panels are not by Christus, but rejects his attribution of them to Jan van Eyck, suggesting they may be from his school.Jahrbuch der Königlich Preussischen Kunstsammlungen 22 (1901), pp. 126–29, attributes them to Jan van Eyck, and dates them 1420–25.Kunstchronik 12 (February 28, 1901), cols. 260–62, ascribes these panels and the Ghent Altarpiece to Hubert van Eyck and comments on similarities in the inscriptions in the two works.Gazette des beaux-arts , 3rd ser., 29 (1903), pp. 11, 18, 108.L'art 3 (1903), pp. 490–92, ill. (etchings of the panels), doubts the attribution to Van Eyck.Die Oberrheinische Malerei und ihre Nachbarn . Leipzig, 1903, p. 23 n. 1 (from p. 22).Von Jan van Eyck bis Hieronymus Bosch . Strasbourg, 1903, pp. 28–30, ascribes them to Jan.Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses 24 (1904), pp. 177–78, 183, 185, 228–34, 236, pl. 22, fig.28 (detail), dates the panels before 1425 and ascribes them to Jan van Eyck, finding the style too advanced for Hubert.Burlington Magazine 4 (January 1904), pp. 35–36, lists them with works attributed wholly or in part to Hubert.La Renaissance septentrionale et les premiers maîtres des Flandres . Brussels, 1905, p. 118.Die altniederländische Malerei von Jan van Eyck bis Memling . Leipzig, 1906, pp. 269–71, ascribes them to an immediate, probably Dutch, follower of Jan van Eyck.Niederländisches Künstler-Lexikon . 1, Vienna, 1906, p. 509, lists them with works by Hubert and copies after him.in Histoire de l'art . 3, part 1, Paris, 1907, pp. 194–96, ascribes them to Hubert and assistants.The Brothers Van Eyck . London, 1907, p. 39, ascribes the snow-capped mountains in the Crucifixion to Jan van Eyck.Les van Eyck . Paris, [1908?], pp. 116, 119–20, thinks they could be by Jan, but only if one supposes them earlier than any of his known works.L'art religieux de la fin du moyen age en France . Paris, 1908, p. 501–2, believes the figure of Death in the Last Judgment is derived from Mystery plays.Les chefs-d'oeuvre de la galerie de tableaux de l'Ermitage Impérial à St.-Pétersbourg . London, [1909], pp. XI, ill. p. 63.Hubert et Jean van Eyck . Brussels, 1910, pp. 95–98, ill., attributes them to Hubert van Eyck.Heures de Milan: Troisième partie des Très-Belles Heures de Notre-Dame . Brussels, 1911, pp. 33, 35, ascribes them to Hubert van Eyck based on their similarity to the pages in the Turin–Milan Hours attributed to Hand G, whom he believes is Hubert.Burlington Magazine 19 (1911), p. 256.The Van Eycks and their Art . London, 1912, pp. 153–56, nos. 26–27.Nabur Martins ou le Maître de Flémalle . Brussels, 1913, pp. 62, 119–20, ascribes them to a Ghent painter, contemporary with Hubert van Eyck.in Allgemeines Lexikon der bildenden Künstler . 11, Leipzig, 1915, p. 131, lists them with the works of Jan.Jahrbuch der Königlich Preuszischen Kunstsammlungen 37 (1916), p. 301.Amtliche Berichte aus den Königlichen Kunstsammlungen 39 (September 1917), cols. 25–27, rejects Zimmermann's attribution of these panels to Ouwater, ascribing them with certainty to the workshop of the Van Eycks.Amtliche Berichte aus den Königlichen Kunstsammlungen 38 (September 1917), cols. 22–23, suggests that the works are by Ouwater, about 1440.Bibliothèque de l'École des Chartes 79 (1918), pp. 280–82, dates them before 1413 and ascribes them to Hubert and Jan van Eyck; identifies these panels with the diptych in Jean du Berry's possession between 1413 and 1416 and doubts there was ever a central panel.Jahrbuch der Königlich Preuszischen Kunstsammlungen 39 (1918), pp. 66–70, fig. 4 (The Crucifixion), ascribes them to an unknown painter who was the author of the Turin-Milan Hours and the lost original of "Christ Bearing the Cross" (Szépmuvészeti Múzeum, Budapest), tentatively suggesting that he was Aelbert van Ouwater.Kunstchronik und Kunstmarkt 55 (October–March 1919/1920), pp. 563–64, reports Durrieu's [Ref. 1920] findings regarding the Hermitage panels.Jahrbuch der kunsthistorischen Sammlungen in Wien 35 (1920–21), pp. 4, 6–8, fig. 3 (detail), as by Aelbert van Ouwater.Putevoditel po kartinnoi galereye imperatorskago Ermitazha [Guide to the Paintings Galleries of the Hermitage] . St. Petersburg, [192?], pp. 195–98, ill., attributes the panels to one of the Van Eyck brothers.Gazette des beaux-arts 1 (1920), pp. 77–105, ill. (overall and details), attributes them to Hubert and Jan van Eyck working together, and, on the basis of costume, places them between 1400 and 1420; finds the inscriptions on the surviving frame uniquely characteristic of works from the van Eyck workshop, including the Ghent Altarpiece; records the inscriptions on Saint Michael's armor [which today are largely illegible], noting that the two mysterious words "adonay" and "agla" (meaning "God") inscribed there appear frequently in the core works ascribed to the brothers; doubts that the original ensemble included a central panel, although an unrelated work may have been added at the whim of a subsequent owner; believes the pictures can be identified with a diptych listed as no. 1266 in the duc de Berry's posthumous inventory of 1416: "uns grans tableaux en deux pièces de painture, l'un de la Passion Nostre Seigneur et l'autre du Jugement"; notes that this work was not mentioned in the Dukes 1413 inventory and would thus have been acquired by him between 1413 and 1416; believes the Hermitage diptych could acurately be called "large" in the context of French princely inventories of the period; notes that at the time of the inventory, the work in question was no longer part of the Duke's succession, but had been given to a chapel in Bourges.Kunstchronik und Kunstmarkt , n.s., 32 (1920–21), pp. 34–36, rejects Durrieu's proposal [Ref. 1920] that these panels may be the diptych mentioned in the 1416 inventory of the duc de Berry, observing that in comparison with other princely possessions of the period, they would have been considered not only "not large," but "small"; accepts Passavant's account of the lost central panel, and claims that Christus's copy of the right wing in Berlin was originally part of a triptych and included grisaille saints on its reverse, as did the Hermitage panels before they were transferred to canvas.The Van Eycks and Their Followers . London, 1921, p. 60, attributes them to Hubert.Hubert van Eyck et les peintres de son temps . Paris, 1921, pp. 93–97, fig. 63 (detail), ascribes them to a painter of Ghent, Liévin van den Clite, who is recorded as having painted a Last Judgment for the city in 1413.Revue de l'art ancien et moderne 40 (June–December 1921), pp. 191–98, figs. 1–2 (details).Gazette des beaux-arts 63 (1921), p. 111.La peinture à Bruges . Brussels, 1922, p. 15.Meisterwerke der Gemäldesammlung in der Eremitage zu Petrograd . Munich, 1923, pp. 11, 103, ill.Hubert und Jan van Eyck . Leipzig, 1924, pp. 89–95, pl. 17, as by Jan van Eyck.Die altniederländische Malerei: Die Malerei in Belgien und Holland von 1400–1600 . Berlin, 1924, p. 49, as by Hubert van Eyck.Die Malerei in den Niederlanden 1400–1550 . Munich, 1925, pp. 20–21, 23–24, pl. 9, attributes them to Hubert.Art Treasures in Soviet Russia . London, 1925, p. 158, suggests that the landscape in the background of the Crucifixion represents Monte Rosa and adjacent mountains in Switzerland.Das Rätsel der Kunst der Brüder van Eyck . Munich, 1925, pp. 106–8, 262–63, pl. 26, finds the attribution of these panels to either Hubert or Jan a more difficult task since the appearance of the Milan Hours.Une école préeyckienne inconnue . Paris, 1925, p. 31, fig. 63 (detail).Drawings of the Early Flemish School . London, 1926, pp. 20–21, pl. 3.The Arts 12 (September 1927), pp. 153–62, ill. (overall and details).Histoire de la peinture flamande des origines à la fin du XVe siècle . 1, Paris, 1927, pp. 87–89, pls. 47–51 (overall and details), places them among Jan van Eyck's earliest works.Der Kunstwanderer (1927), pp. 309–13, 357–62, 415–20, ill. (overall and details), ascribes them to Hubert or Jan van Eyck, arguing that the lost central panel was a Way to Calvary recorded in a 15th century Netherlandish drawing (Albertina, Vienna) and in a narrower painted panel of the subject ascribed to Dieric Bouts or his school (Suermondt-Ludwig-Museum, Aachen).Flemish Painting before the Eighteenth Century . London, 1927, p. 9, as perhaps by Hubert.Kritische Berichte 1 (1927–28), pp. 74–83, fig. 6, is inclined to identify them with the diptych mentioned in the inventory of the duc de Berry.Burlington Magazine 52 (May 1928), pp. 222, 229, refers to the author of the Last Judgment as "a master in the studio of the Duc de Berry who some people continue to identify with the young Hubert Van Eyck".Münchner Jahrbuch der bildenden Kunst , n.s., 9 (1932), pp. 330 n. 10, mentions the Last Judgment as by the creator of the Turin–Milan miniatures and as influenced by the Van Eycks.Art Digest 8 (November 15, 1933), pp. 8–9, ill. (overall and details).Burlington Magazine 63 (August 1933), p. 71, ascribes them to the "hypothetical Hubert van Eyck, painter of the G group of Turin–Milan Hours".Wallraf-Richartz-Jahrbuch , n.s., 2–3 (1933–34), pp. 196–202, ill., ascribes them to Hubert.Metropolitan Museum of Art Bulletin 28 (November 1933), pp. 184–93, ill. (overall and details), as "bought in Spain (from a monastery near Madrid, it is said) . . .".New York Times (November 7, 1933), p. 3 [see Ref. Williams 1980, p. 70].Letter to H. W. Kent . July 19, 1933, based on lettering on the frame alone thinks "it would be bold to say it is 1415, but it would not be bold to say it may be".A History of Spanish Painting . 4, Cambridge, Mass., 1933, part 1, p. 21.De iconografie van de Nederlandsche primitieven . Amsterdam, 1933, pp. 100–101, fig. 40.Letter to Bryson Burroughs . November 24, 1933, supports an attribution to Hubert.Bulletin de l'art [supplement of Revue de l'art] 65 (January 1934), pp. 32, 35, ill.Art in America 22 (1934), pp. 49–50, 53–56, 59, ill., ascribes them to Hubert van Eyck; argues that they could not, for a number of reasons, be the diptych with the Crucifixion and Last Judgment listed in the posthumous inventory of the duc de Berry; is convinced that the MMA panels were originally conceived as a triptych.Letter to Bryson Burroughs . January 14, 1934.L'arte 37 (1934), pp. 341–47, figs. 1, 2, supports an attribution to Hubert; suggests the figure with a turban that appears alongside the bad thief is a portrait.Letter to Harry B. Wehle . February 11, 1934, supports an attribution to Hubert van Eyck and identifies the man with the turban-like headdress beneath the bad thief as a self-portrait.Art Bulletin 17 (December 1935), pp. 434, 468, 471–72, fig. 3, ascribes them, "at least in the main," to Hand G of the Turin–Milan Hours, and illustrates them as "Jan van Eyck or Follower"; notes that some parts, especially of the Last Judgment, seem to be executed by a collaborator.Jean van Eyck . Bruges, 1935, pp. 14, 46, 65, 69–71, 83, 87–88, 91–92, 95–96, 99–100, 103, 119–21, pls. 3–4, 7–10, 12,16 (overall and details), dates them between 1415 and 1425 and attributes them to Jan van Eyck.Niederländische Malerei . Berlin, 1935, pp. 7, 29, pl. 5 (detail), as by "Hubert (?) van Eyck".Oud-Holland 53 (1936), pp. 16, 23–24, fig. 1 (detail), ascribes them to Hubert van Eyck.in "De vlaamsche schilderkunst tot ongeveer 1480." Geschiedenis van de vlaamsche kunst . Antwerp, 1936, p. 173, attibutes them to Jan van Eyck, dating them before 1425.Pantheon 19 (1937), pp. 118–20, as early works of Hubert.Die altniederländische Malerei . 14, Leiden, 1937, p. 78, no. 76.Hubert van Eyck: Die Verwandlung der Mittelalterlichen in die Neuzeitliche Gestaltung . Frankfurt, 1937, p. 23, attributes them to Jan.Art Criticism from a Laboratory . Boston, 1938, pp. 194, 196–98, 207, 249, 252–54, as "formerly attributed to Hubert van Eyck"; notes that they "reveal an artist already master of his craft and experienced in the world in a way which Jan van Eyck was not"; sees parallels in the works of "Hand G" of the Turin-Milan Hours and the "Three Marys at the Tomb" (Boymans-van Beuningen Museum, Rotterdam), as well as Campin's "Nativity" (Musée des Beaux-Arts, Dijon) and "Marriage of the Virgin" (Prado, Madrid); dates the MMA panels from about the time the Ghent altarpiece was completed.Le Maître de Flémalle et les frères van Eyck . Brussels, 1939, pp. 37, 53, 64, 79–80, figs. 123–24.L'arte 11 (1940), pp. 39–40, figs. 4 and 5 (Crucifixion and detail), ascribes them to Hubert and discusses the presumed self–portrait.Hubert und Jan van Eyck . Munich, 1941, pp. 10–14, figs. 14–18, attributes the panels to Hubert, perhaps painted several years after the Turin-Milan Hours.Gazette des beaux-arts 23 (March 1943), p. 156.Art Digest 18 (June 1, 1944), p. 6.Letter . September 11, 1944, comments on Tatistcheff's story of the lost central panel, observing that a thief "if not going off with the whole triptych, would certainly not go off with the central piece and leave the wings in place"; suggests that the MMA diptych may easily be a replica of the diptych listed in the inventory of the Duc de Berry.Metropolitan Museum of Art Bulletin 2 (June 1944), inside front cover, ill. p. 286 (overall) and on front and back covers (color details).Connoisseur 116 (December 1945), p. 123, rejects the attribution to Hubert, declaring that he was a myth, and ascribes them to Jan.Bröderna van Eyck . Stockholm, 1946, pp. 59–60, fig. 22, as by Jan van Eyck.Letter . April 12, 1946, ascribes them to Hubert.La pensée chrétienne dans la peinture flamande et hollandaise . Lille, 1947, vol. 2, pp. 218–19, 297–98, 302, 339, no. 487, 346, no. 684, pls. 165b, 215b.The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings . New York, 1947, pp. 2–12, ill., attribute them to Hubert and find them stylistically analagous to the "Hand G" miniatures of the Turin-Milan hours; are inclined to accept that a central panel was part of the original ensemble and favor Panofsky's view (see Ref. 1927–28) that a drawing in Berlin of the Adoration of the Magi would be a likely composition for this center.Untersuchungen zu Rogier van der Weyden und Jan van Eyck . Stuttgart, 1948, pp. 85–90, 94–96, 102–3, 107, pl. 113, attributes them to Jan; identifies the rider with the turban headdress under the right cross as Philip the Good at about age 30, and dates the painting after May 19, 1425, the date on which Jan entered his service.Ontcijfering van Jeroen Bosch . The Hague, 1949, pp. 29, 247, 253 n. 19 [English ed., Hieronymus Bosch: His Picture-Writing Deciphered, Rotterdam, 1979, p. 328 n. 50, pp. 329–30, 349, 357, 401].Art Bulletin 31 (June 1949), pp. 140–41, considers it unlikely that these panels were originally conceived as the wings of a triptych with an Adoration of the Magi at its center; asserts that it would be an iconographic anomaly for a Crucifixion to serve as the left wing of an Adoration, and notes, moreover, that the MMA Crucifixion is clearly pervaded by a movement from the left side and that the "finality" of the right edge acts like a barrier; comments that the woman standing at the lower right edge, probably a donor, would not have turned her back to the central panel; prefers to think of the Crucifixion as the right wing of an altarpiece and the Last Judgment as one of its outside panels.Metropolitan Museum of Art Bulletin 8 (February 1950), p. 183, ill. (detail).Jean van Eyck et le polyptyque: Deux problèmes résolus . 1950, pp. 11, 73–74, 77–79, 81–83, 85–91, 93–95, 98–102, pls. 19, 21–24, 26–29, 32–33 (overall and details), attributes them to Jan before 1425.Flemish Artists of the Valois Court . Toronto, 1950, pp. 84, 86–87, 137 n. 12, ascribes them to Jan, before 1425.Jan van Eyck . New York, 1952, p. 92 n. 3, pp. 95–96, 287, no. 62, pls. 163–65 (overall and detail).Isabel la Católica y el arte hispano-flamenco . Madrid, 1952, pp. 41–42, 104 n. 5, ascribes them to Hubert and calls them "wings of a triptych"; states that their acquisition from a convent in Spain "where they must have been for centuries" allows us to consider them one of the donations of Juan II, or at least to conclude they were present in Spain by the first half of the fifteenth century; publishes inventories of Queen Isabella, including docket no. 186 of May 3 and January 13, 1499, which lists a diptych in a gilded frame with the Crucifixion and Last Judgment; believes that this may correspond to the MMA works.Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art . Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 225, no. 91, colorpl. 91.Gazette des beaux-arts 39 (April 1952), p. 239.Early Netherlandish Painting: Its Origins and Character . Cambridge, Mass., 1953, vol. 1, pp. 237–40, 242, 246, 269, 309, 454 nn. 1–2 (to p. 238), nn. 1, 3 (to p. 239), p. 455 nn. 1–2 (to p. 240), p. 456 n. 8; vol. 2, pls. 166, 168 (overall and details), attributes them to "Hand G" of the Turin-Milan Hours, which he takes to be Jan, and believes that they were planned as a diptych; discusses the iconography of both panels and asserts that the figure at the lower right edge of the Crucifixion is the Erythrean Sibyl and not a donor [see Ref. Held 1949]; rejects Held's opinion of the same year that the Crucifixion was the right wing and the Last Judgment one of the outside panels of an altarpiece, observing that outside panels were usually given less sumptuous treatment while these are set in identical gilded and inscribed frames; considers improbable Musper's [see Ref. 1948] identification of a figure under the right cross as Philip the Good.La peinture flamande au siècle des van Eyck . Paris, 1953, pp. 86–89, 190, 298, ill. (overall and detail), attributes them to Hubert, and identifies them with the Crucifixion and Last Judgment listed in the inventory of the duc de Berry.Bollettino d'arte 38 (April–June 1953), p. 130.The Van Eyck Problem . London, 1954, pp. 53, 60, 74, ascribes them without doubt to Jan.Acta Historiae Artium Academiae Scientiarum Hungaricae 1, no. 3–4 (1954), pp. 239, 243, 247–48, 251, 253, 259, fig. 4, attributes these panels and the Turin-Milan Hours to a Dutch painter active about 1440, "presumably Albert van Ouwater".La peinture belgique des primitifs à nos jours . Brussels, 1954, p. 13, as generally attributed to Hubert van Eyck.Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 10, ill.Bulletin des Musées Royaux des Beaux-Arts nos. 1–3 (1955), pp. 173–75 n. 4, fig. 2 (detail).Art Bulletin 37 (September 1955), pp. 222–24, figs. 4a, 5a, 6a, 7b (details), compares some of the heads in the Crucifixion with those of apostles, pilgrims, and hermits in the Ghent Altarpiece, and gives reasons why the MMA panels might be assigned to Hubert; accepts Panofsky's identification of the figure at the lower right with the Erythrean Sibyl, but still considers her to be a donor, tenatatively identifying her as Margaret, sister of William of Bavaria and wife of Jean sans Peur.Roger van der Weyden and the Flémalle Enigma . Toronto, 1955, p. 36.in "Jan van Eyck and the Italian Renaissance." Venezia e l'Europa: atti del XVIII congresso internazionale di storia dell'arte . Venice, 1956, pp. 66–67.Burlington Magazine 98 (August 1956), p. 273.Van Eyck problemen . Utrecht, 1957, p. 6 n.2, p. 104, as from the hand of miniaturist G, most closely related to the work of Jan but fundamentally different in its form; tentatively supports identification of hand G with Hubert.Revue des arts (July–August 1957), pp. 160–63, p.164 n. 12, ill. (detail), attributes them to Hand H and suggests that this artist may be Jean Coene, a miniaturist working at Bruges between 1424 and 1450.Scriptorium 11 (1957), p. 116, as an "Eyckian" work, often incorrectly attributed to "Van Eyck".Flemish Painting . 1, New York, 1957, pp. 68–69, suggests an attribution to a master contemporary with Jan and in close touch with him.Middeleeuwse Kunst der Noordelijke Nederlanden . Exh. cat.Amsterdam, 1958, pp. 133–34.Nederlands Kunsthistorisch Jaarboek 9 (1958), p. 83.Revue belge d'archéologie et d'histoire de l'art 28 (1959), pp. 59, 68.Gazette des beaux-arts 55 (February 1960), p. 75.Les primitifs flamands au Musée Metropolitain de New York . Utrecht, 1960, pp. 28–33, 39, 107, figs. 1–2, as by Hubert; believes they are wings of a triptych and that the central panel was probably an Adoration of the Magi; dates them before 1420.Art Bulletin 42 (1960), p. 49 n. 51.Flemish Painters, 1430–1830 . New York, 1960, vol. 1, pp. 12, 14, 19–23, 25, 33–35, 47, 67, 74, 86, 89–92, 96, 107, 114 159–60; vol. 2, pls. 1–8, 16, guesses that they were painted about 1467 by Hieronymus Bosch at about the age of eighteen.Gazette des beaux-arts , 6th ser., 57 (May–June 1961), pp. 281, 310 n. 21, p. 313 n. 61, 65, attributes them to Jan.Gotische Malerei nördlich der Alpen . Cologne, 1961, p. 224, as by Jan, before the Ghent Altarpiece.Merchants of Art: 1880–1960, Eighty Years of Professional Collecting . New York, 1961, p. 176.Due dipinti, la filologia e un nome: il Maestro delle Tavole Barberini . Turin, 1961, pp. 58–60, fig. 48, as very early works of Jan.Le Musée National du Louvre, Paris. I [Les primitifs flamands, I: Corpus de la peinture des anciens pays-bas méridionaux au quinzième siècle, vol. 5] . Brussels, 1962, p. 69, as attributed to Jan.Bulletin of Rhode Island School of Design 48 (May 1962), pp. 3, 6, 10–11, 13, 17–19, 22 n. 4, p. 23 n. 63, p. 24 n. 65, figs. 2, 28 (details).Jan van Eyck in de Kempen . [Arendonk], 1964, pp. 25–27, sees a sign referring to the miller's profession in the Crucifixion as well as other works which he attributes to Jan van Eyck; believes that these marks are signs of an artist who was a member of the Van der Moelen (Miller) family.Jaarboek van het Koninklijk Museum voor Schone Kunsten te Antwerpen (1966), p. 29 n. 27, pp. 30–34, fig. 12 (detail), attributes the Crucifixion to Hand H.Burgundische Malerei . Berlin, 1966, vol. 1, pp. 336–37; vol. 2, fig. 705a.in "The van Eycks—Petrus Christus." Early Netherlandish Painting . 1, New York, 1967, pp. 51–53, 94, 109 n. 15, pl. 36, dates them about 1424.Der Genter Altar . Munich, 1967, pp. 84, 115, as not stylistically close enough to the Ghent Altarpiece to be attributed to Jan with complete conviction.Jahrbuch der Berliner Museen 9 (1967), pp. 110, 112, 114, 133–34, fig. 6 (detail).Northern Painting from Pucelle to Bruegel . New York, 1968, pp. 87–89, 131, ill., attributes these panels to a Bruges painter familiar with the work of Jan van Eyck, about 1430–35.National Gallery Catalogues: Early Netherlandish School . London, 1968, pp. 45–46.in L'opera completa dei Van Eyck . Milan, 1968, pp. 87–88, no. 3a–b, ill. p. 88 and colorpl. 63.Amico Amici: Festschrift für Werner Gross zu seinem 65. Geburtstag am 25.11.1966 (1968), pp. 145–46, 151, fig. 63 (detail), as Jan's early work, not likely to be the wings of a painting based on the composition of the Adoration of the Magi drawing in Berlin.in "Zum New Yorker 'Diptychon' der 'Hand G'." Munuscula Discipulorum: Kunsthistorische Studien Hans Kauffmann zum 70. Geburtstag 1966 (1968), pp. 235–46, pls. 205–7, attributes them to Jan and suggests that they were originally tabernacle doors which, when closed, showed two angels or prophets in grisaille.Early Netherlandish Triptychs: A Study in Patronage . Berkeley, 1969, pp. 44, 139 n. 49.in Galleria degli Uffizi. McGraw-Hill Dictionary of Art . 5, New York, 1969, p. 404, as possibly an early collaboration of Hubert and Jan, probably left incomplete at Hubert's death, and finished by his "conscientious brother".Juan van Eyck y España . Cadiz, 1969, pp. 63–64, fig. 36, erroneously as from the Mellun [sic] collection; says it is tempting to place them early in Jan's oeuvre; observes that they may be connected in some way with his voyage to Spain, adding that it is logical to assume that they were in Spain from an early time.Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . New York, 1970, pp. 225, 235 [rev., enl. ed., 1989].The Ghent Altarpiece and the Art of Jan van Eyck . Princeton, 1971, pp. 32, 60, 78 n. 157, pp. 101, 140–64, p. 186 n. 363, pp. 225–26, figs. 140–41, 160, 167, 168, 170 (overall and details), ascribes them Jan van Eyck, perhaps after the Ghent Altarpiece; believes they were the doors of a wooden tabernacle commissioned by Philip the Good for a relic given him by Pope Eugene V in 1433.Letter . February 20, 1971, thinks they should be called "Attributed to Jan van Eyck," although one may still reasonably hesitate between Jan and a close, most able, follower; personally believes in Jan's authorship noting that "Hubert is to be excluded not because of his nonexistence (which is very far from being proven) but because of the incompatibility of what we know of his life and may suppose to have been his style".Art Bulletin 53 (March 1971), p. 9 n. 38, pp. 11–13, 17, 18 n. 66, fig. 42 (Crucifixion), supports Held's [see Ref. 1955] identification of the painter with the painter of the Hermits and Pilgrims in the Ghent Altarpiece, concluding that "since the Diptych with its alpine vista is in all probability later than 1426, this author can only be Jan van Eyck, Hubert having died on September 18, 1426"; gives evidence which he believes indicates that the MMA panels were in Bruges between 1432 and 1437.Acta Historiae Artium 17 (1971), pp. 132, 134.Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin . London, 1972, p. 249.Apollo 98 (July 1973), p. 62, considers the iconographic interpretation of the reconstructed triptych tabernacle proposed by Philip [see Ref. 1971] so extravagant that it cannot be taken seriously.Petrus Christus . Utrecht, 1974, pp. 30, 34, 65, 100, fig. 25.Renaissance Quarterly 27 (Spring 1974), p. 52.Prospettiva 1 (April 1975), p. 34 n. 23.in "The Price Was Not Too High." The Chase, the Capture: Collecting at the Metropolitan . New York, 1975, pp. 196–98, fig. 50.La peinture flamande 15e–16e–17e siècles . Brussels, 1976, p. 38, figs. 10–11.Revue de l'art no. 33 (1976), pp. 15, 23–25, 29–30, 33–34, 36, 40–50, 53, 56, 76, 80 nn. 118–19, 124, pp. 81 n. 126, figs. 28, 46, 55, 67–69, 71 (overall and details); corrections in Revue de l'art, 34, 1976, p. 103 nn. 109 bis, 132 bis, states that the panels could date from the end of 1426, noting that the view of the Alps in the background of the Crucifixion must be a reminiscence of Jan's trip to Italy, which he deduces took place in that year; tentatively suggests that a central panel depicting the Adoration of the Magi was added at some later date.Actas del XXIII Congreso Internacional de Historia del Arte, España entre el Mediterraneo y El Atlántico . 1, Granada, 1976, pp. 506, 508, 511, 512, 514, 524 n. 10, fig. 15. (detail).Wiener Kunstgeschichtliche Forschungen . 5, Vienna, 1978, p. 22 n. 24, ascribes the panels to the "Turiner Meister (Hubert?)".Van Eyck . Bologna, 1979, pp. 34, 56, colorpl. 6, illustrates them with works of Jan van Eyck, but comments that it is not altogether certain that the panels are from the same hand, as the Last Judgment is weaker in composition and handling than the Crucifixion; believes they may originally have been a diptych.La pintura de los primitivos flamencos en España . 1, Madrid, 1980, pp. 60, 92, as coming from an unidentified convent in Burgos.Relations artistiques entre les Pays-bas et l'Italie à la Renaissance: Études dédiées à Suzanne Sulzberger . Brussels, 1980, pp. 45–56, figs. 3, 6 (Crucifixion and detail), accepts the attribution to Jan; dates them between 1422 and 1424, when the artist worked for John of Bavaria, noting that in the Crucifixion a man wears the plain broad-brimmed hat of the type worn by partisans of John of Bavaria; supports Panofsky's [Ref. 1953] identification of the woman at the lower right in the Crucifixion as the Erythrean Sibyl and finds "seductive" Kammerer-Nouvel's [Ref. 1974] suggestion that the female figure at the left with her back turned to us may be a European sibyl, probably the Cumaen sibyl; believes that the horsemen seen from the rear were inspired by Altichiero's Crucifixion in the oratory of San Giorgio in Padua; considers it most likely that the two panels were originally a diptych.Hubert and Jan van Eyck . New York, 1980, pp. 359–61, ill. (color), discusses the diptych with works by "Anonymous Epigone and Imitators"; notes that an altarpiece formerly in the church of St. Michael in Ghent and now lost was iconographically similar to the Last Judgment.The Metropolitan Museum of Art . New York, 1980, pp. 186, 188, 194, figs. 356, 357 (color).Russian Art and American Money, 1900–1940 . Cambridge, Mass., 1980, pp. 31–35, 155, 170, 180, 183, ill.The Paintings of Domenico Veneziano, ca. 1410–1461: A Study in Florentine Art of the Early Renaissance . New York, 1980, p. 11.Early Dutch Painting: Painting in the Northern Netherlands in the Fifteenth Century . English ed. [French ed. 1980]. New York, 1981, pp. 37–39, 168, 196–97, 201–2, 210, 242, no. 20, figs. 23, 26, 27, observes that "the Last Judgment, interesting though it is, is less novel in conception and less brilliant in execution [than the Crucifixion], suggesting the collaboration of some assistant", perhaps Master H, or more probably Hand I of the Turin–Milan Hours; finds an original diptych format more plausible.Hieronymus Bosch: Eine historische Interpretation seiner Gestaltungsprinzipien [Theorie und Geschichte der Literatur und der schönen Künste, vol. 58] . Munich, 1981, pp. 28–29, 42, 64, 91, 102–5, 176 n. 6, p. 177 n. 1, p. 179 n. 23 from p. 178, figs. 16, 47, 75, 88 (details and Crucifixion), as by the Master of the Turin Book of Hours.Bulletin of the Cleveland Museum of Art 67 (April 1981), pp. 98, 101–2, 116 nn. 50–51, p. 117 n. 54.Jan van Eyck als Erzähler: Fruhe Tafelbilder im Umkreis der New Yorker Doppeltafel . Worms, 1983, 198 pp., ill. (overall and details), attribute them to Jan, and believe they were originally the wings of a sculpted altarpiece; relate them to other early Eyckian panel paintings and manuscript illuminations and compare the Last Judgment to a 14th-century Sienese panel from Bourges (Louvre, Paris) depicting the Fall of the Rebel Angels, and to two related compositions of the Limbourg brothers in the Très Riches Heures–a Saint John on Patmos and a Fall of the Rebel Angels; believe Jan was familiar with all three works.Italie et Flandres dans la peinture du XVe siècle . Milan, 1984, pp. 67, 81, 152 [Italian ed., 1983].Liber Amicorum Herman Liebaers . Brussels, 1984, p. 421, mentions them as "sometimes attributed to the Van Eycks, but more likely the work of a Bruges painter of c. 1430–35".Acta Historae Artium 30 (1984), pp. 147, 152 n. 55.Apollo 120 (August 1984), p. 146.Speculum 60 (July 1985), pp. 638–40.Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575 . New York, 1985, pp. 118, 156, fig. 115, calls the panels and the "Stigmatization of Saint Francis" in the Philadelphia Museum of Art "works by Jan van Eyck in his later years".Gazette des beaux-arts 108 (July–August 1986), p. 25.Revue de l'art 71 (1986), p. 22.Bildkonzeption und Weltdeutung im New Yorker Diptychon des Jan van Eyck . Wiesbaden, 1987, pp. 1–137, ill., notes that the shield held by Saint Michael in the Last Judgment precisely evokes a reliquary preserved at the abbey of Mont Saint-Michel, suggesting a connection with France; identifies the female figure seen from behind on the lower right of the Crucifixion as the Cumaen sibyl, whose prophecies referred to the Passion and also to Christ 's return to earth; suggests that the parallel figure on the left may be the Eritriaen sibyl.Art Bulletin 69 (1987), p. 651.in The Metropolitan Museum of Art: The Renaissance in the North . New York, 1987, pp. 9, 18–21, ill. (color, overall and detail).L'Oeil 389 (1987), p. 37.Bulletin Monumental 146 (1988), pp. 165–66.Kunstchronik 41 (March 1988), pp. 109–14.Gerard David . Antwerp, 1989, pp. 50, 112, 115, 141 n. 80, p. 227, colorpl. 29 (Crucifixion).Van Eyck: Die Begründer der altniederländischen Malerei . German ed. [English ed. 1994]. Munich, 1989, pp. 191–95, figs. 115, 119 [English ed. 1994, pp. 190–9, as by the "Master of the Hours of Turin (Hubert van Eyck?)".Petrus Christus: His Place in Fifteenth-Century Flemish Painting . University Park, Pa., 1990, p. 5 n. 15, p. 11 n. 13, pp. 39–40, 44–45 n. 56, p. 46, fig. 33, suggests the "considerable possibility that this Last Judgment was not painted by Jan van Eyck but by another artist working in the Eyckian tradition"; refers to it as a diptych and dates it about 1440–50.Masters and Miniatures: Proceedings of the Congress on Medieval Manuscript Illumination in the Northern Netherlands . Doornspijk, The Netherlands, 1991, p. 375.Weatherwise 44 (December 1991–January 1992), p. 11, ill., identifies all the cloud formations in the Crucifixion; asserts that "a slowly moving cold front has just passed and cleared the sky"; remarks that "astronomers will note that this location is not possible for the waning moon".Art History 14 (March 1991), pp. 22–23, 25, 47 nn. 33–35, ill. (Last Judgment), notes that the seated apostles are clearly characterized as assistant judges, and suggests that their portrayal may have been inspired by a 1404 catechetical treatise, "which, elaborating on the well-known bilblical passage, explicitly compares the Apostles at the Last Judgment to aldermen seated on thrones"; adds that the artist has followed conventions found in contemporary depictions of secular courts of justice.Rembrandt . Munich, 1991, p. 81, fig. 48 (Last Judgment), as by the Master of the Turin Hours (Hubert van Eyck?).Zeitschrift für Kunstgeschichte 54 (1991), pp. 474–75, fig. 7 (detail).Le dessin sous-jacent dans la peinture . Colloque 8, Louvain-la-Neuve, 1991, p. 83.in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America . Antwerp, 1992, p. 334, no. 232, ill.Anzeiger des Germanischen Nationalmuseums und Berichte aus dem Forschunginstitut für Realienkunde (1992), pp. 175–76, 179, 184, 187, 189–91 nn. 4–5, p. 193 n. 33, ill. (Last Judgment).in Gottesfurcht und Höllenangst: Ein Lesebuch zur mittelalterlichen Kunst . Darmstadt, 1993, p. 98, fig. 48 (Last Judgment).Artibus et historiae no. 27 (1993), pp. 9, 11–22, 26–30, ill.in Stefan Lochner, Meister zu Köln . Exh. cat., Wallraf-Richartz-Museum. Cologne, 1993, p. 37, fig. 7 (Last Judgment), notes that the central panel of a Crucifixion triptych in the Historishces Museum, Frankfurt, is based on the MMA panel, which he tentatively ascribes to Hubert van Eyck.The History of Hell . New York, 1993, p. 152, fig. 21 (Last Judgment, color).Art Bulletin 75 (March 1993), p. 177.Petrus Christus: Renaissance Master of Bruges . Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 30–31, 64 n. 27, fig. 20, discusses the raised gesso or "pastiglia" frame.Die Erfindung des Gemäldes: Das erste Jahrhundert der niederländischen Malerei . Munich, 1994, pp. 140–41, 199, colorpls. 12–13 (overall and detail), as by Jan van Eyck.Journal for the History of Astronomy 25 (November 1994), p. 317, figs. 1–2 (Crucifixion; overall and detail), notes that in the Crucifixion the moon is depicted in its gibbous phase, with all the major lunar maria visible on its surface as would be the case in the morning hours.Van Eyck and the Founders of Early Netherlandish Painting . London, 1994, pp. 190–92, 206, ill. fig. 115 and colorpl. 19 [German ed. 1989].La peinture dans les anciens pays-bas, XVe–XVIe siècles . Paris, 1994, pp. 28–29, 31, 286, ill. (color), attributes the Crucifixion to Jan van Eyck, but ascribes the Last Judgment to a student or collaborator.Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach . New York, 1995, pp. 65–69, 71–72, 74, 77–78, 79–83 nn., figs. 1–4 (details), dates it in the mid-1430s.Jan van Eyck und der Genter Altar . Worms, 1995, pp. 135, 201, 262–65, 267–68, 270–71, colorpl. 10, accepts the connection of these panels with works ascribed to "Hand G" of the Turin-Milan Hours, whom he appears to identify with Jan van Eyck; sees the turbaned female figure at the lower right of the Crucifixion not as a sibyl [see Ref. Panofsky 1953], but as an early idea for Jan's subsequent use of oriental dress for his sibyls on the wings of the Ghent altarpiece; judging from the view in the background of the Crucifixion, believes the artist must have seen the Alps, perhaps before 1426.Zeitschrift fur Kunstgeschichte 58 (1995), pp. 186–87.Robert Campin, Le Maître de Flémalle: La fascination du quotidien . Antwerp, 1996, pp. 63, 251, 253, ill. (color detail), believes that the Crucifixion, but not the Last Judgment, is by Jan van Eyck, and relates it to a lost painting of the same theme by Robert Campin, a copy of which is in the National Museum, Poznan.Burlington Magazine 138 (May 1996), p. 333.Robert Campin: New Directions in Scholarship . [Turnhout, Belgium], 1996, p. 185.The Flemish Primitives I: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium . 1, Brussels, 1996, p. 75 n. 27.Jan van Eyck: Two Paintings of "Saint Francis Receiving the Stigmata" . Philadelphia, 1997, p. 94, notes the depiction of fossils within the landscape [see lower edge of the Crucifixion].Jan van Eyck: Two Paintings of "Saint Francis Receiving the Stigmata" . Philadelphia, 1997, pp. 29, 44 n. 1, notes that the underdrawing of the Crucifixion in delicate, parallel hatching strokes defines form and indicates a few changes in design, and that the underdrawing in the upper portions of the Last Judgment appears to be by a different hand.in La pittura nei Paesi Bassi . Milan, 1997, vol. 1, p. 81.Early Netherlandish Painting from Rogier van der Weyden to Gerard David . London, 1997, pp. 40, 44, 88, 129–30, 153–54, fig. 30 (Last Judgment).Jan van Eyck: Two Paintings of "Saint Francis Receiving the Stigmata" . Philadelphia, 1997, p. 19, fig. 21 (Crucifixion).Gerard David: Purity of Vision in an Age of Transition . New York, 1998, pp. 28, 95.in "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. vii, 2, 14–16, 24–25, 70, 74, 79–80, 86–89, 209, no. 1, ill. (color, overall and details), ascribes them to "Jan van Eyck and Assistant" about 1430, giving to the assistant the upper half of the Last Judgment except for the figure of Christ; notes that the exterior edges preserve traces of an old clasp for closing a diptych.Burlington Magazine 140 (December 1998), p. 854.New Criterion (November 1998), p. 50.Source: Notes in the History of Art 17 (Spring 1998), pp. 1–6, ill. (left wing and detail of left wing).in Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian . Exh. cat., Palazzo Grassi. Milan, 1999, p. 202, ill. (Crucifixion).The Moon & the Western Imagination . Tucson, 1999, pp. 87–93, 234 n. 10, figs. 6.1–6.2 (left wing; overall and detail), discusses the representation of the moon in the Crucifixion's landscape; states that it is a gibbous moon, and that the major lunar maria are all shown as they would appear in the late afternoon [but see Ref. Montgomery 1994 and Leonardi 2008], perhaps corresponding to the "ninth hour" (about 3 p.m.) in the biblical account; observes, however, that the moon in its waning gibbous phase could not occupy this position in the sky.Las tablas flamencas en la ruta Jacobea . Exh. cat., Claustro de la Iglesia de Palacio, Logroño. San Sebastián, Spain, 1999, p. 201, states that these panels came from a convent in Burgos.Italy and the Low Countries—Artistic Relations: The Fifteenth Century . Florence, 1999, pp. 39, 57 n. 3.Pantheon 57 (1999), pp. 22–32, figs. 1, 6a–b.The Flemish Primitives II: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium . 2, Brussels, 1999, p. 122 n. 39.Journal des Savants (January–June 2000), pp. 79, 81–89, 95–98, figs. 6, 8, attributes the Crucifixion panel to Jan van Eyck and the Last Judgment tentatively to Hubert.in Netherlandish Art in the Rijkmuseum, 1400–1600 . Zwolle, The Netherlands, 2000, p. 35.Zum Logos der Kunst Rogier van der Weydens: Die 'Beweinungen Christi' in den Königlichen Museen in Brüssel und in der Nationalgalerie in London . Münster, 2000, vol. 1, pp. 54, 194, 309, 324; vol. 2, pp. 581, 606.Investigating Jan van Eyck . Turnhout, Belgium, 2000, pp. 10–11, fig. 10.Investigating Jan van Eyck . Turnhout, Belgium, 2000, pp. 140–41.El renacimiento mediterráneo: Viajes de artistas e itinerarios de obras entre Italia, Francia y España en el siglo XV . Exh. cat., Museo Thyssen-Bornemisza. 2001, pp. 397–98, 400, figs. 60a–b, dates them about 1426, and states that they were in the Mediterranean region, perhaps Naples, in the mid-fifteenth century.Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies . New York, 2001, p. 22, ill. p. 20 (detail of the Crucifixion, in color).Burlington Magazine 143 (May 2001), p. 320.The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting 1430–1530 . Exh. cat., Groeningemuseum, Bruges. Ghent, 2002, as by Jan van Eyck and workshop.The Flemish Primitives: The Masterpieces . Antwerp, 2002, p. 54, ill. 15.in Early Netherlandish Drawings from Jan van Eyck to Hieronymus Bosch . Exh. cat., Rubenshuis. Antwerp, 2002, pp. 56–57, 60 nn. 17–19, fig. 10b (detail of Crucifixion), supports a later dating, comparing them with Jan's Dresden triptych (Staatliche Kunstsammlungen), dated 1437, and his Antwerp Madonna at the Fountain (Koninklijk Museum), dated 1439.in Gerard David y el paisaje flamenco . Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2003, pp. 82–83, 90, fig. 39 (detail).Genova e la Francia: opere, artisti, committenti, collezionisti . (Cinisello Balsamo) Milan, 2003, p. 87, fig. 9.Sixteenth Century Journal 34 (Fall 2003), p. 907.Landschap en Wereldbeeld: Van Van Eyck tot Rembrandt . Bossum, The Netherlands, 2004, pp. 103, 404 n. 177, figs. 22–23 (overall and detail).Early Netherlandish Paintings: Rediscovery, Reception and Research . English ed. Amsterdam, 2005, p. 216 [Dutch ed., "'Om iets te weten van de oude meesters'. De Vlaamse Primitieven—herontdekking, waardering en onderzoek," Nijmegen, 1995].in Thomas Ketelsen and Uta Neidhardt. Das Geheimnis des Jan van Eyck: Die frühen niederländischen Zeichnungen und Gemälde in Dresden . Exh. cat., Residenzschloss Dresden. Munich, 2005, p. 88.in "Objects and Questions." Early Netherlandish Paintings: Rediscovery, Reception and Research . English ed. Amsterdam, 2005, pp. 78–79, 82–83, fig. 35 (color) [Dutch ed., "'Om iets te weten van de oude meesters'. De Vlaamse Primitieven—herontdekking, waardering en onderzoek," Nijmegen, 1995].Essays in Context: Unfolding the Netherlandish Diptych . Cambridge, Mass., 2006, pp. 175, 192 nn. 18, 21, fig. 1.in Antonello da Messina: l'opera completa . Exh. cat., Scuderie del Quirinale, Rome. Cinisello Balsamo (Milan), 2006, pp. 32, 41 n. 29, fig. 5 (color, Crucifixion), as by Jan van Eyck.Essays in Context: Unfolding the Netherlandish Diptych . Cambridge, Mass., 2006, p. 48.in Antonello da Messina: l'opera completa . Exh. cat., Scuderie del Quirinale, Rome. Cinisello Balsamo (Milan), 2006, pp. 142, 216, attributes them to the workshop of the Van Eyck brothers and dates it about 1426.Dieric Bouts: The Complete Works . Brussels, 2006, p. 287.Hieronymus Bosch . New York, 2006, p. 345, colorpl. 269 (detail of Last Judgment), dates them about 1440.The Flemish Privitives IV: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium . 4, Brussels, 2006, p. 96 n. 49.Revue de l'art 155, no. 1 (2007), pp. 51–57, ill. (details), believes that it was near Gex that Jan first saw the mountain range depicted in the background of the Crucifixion panel; compares a photograph taken from Gex towards the end of summer to a detail of the mountain range in the painting and concludes that Jan was there at the same time of year; adds that this would probably be the season in which Jan traveled south, no doubt to Italy; also comments on the representation moon, noting that it is painted as it appears in the morning, just after sunrise, two or three days after the full moon, chosen by Jan, he concludes, as this was the precise phase of the moon at the time of the Crucifixion, just before Easter.Metropolitan Museum Journal 42 (2007), p. 123, fig. 2.Cultural Exchange Between the Low Countries and Italy (1400–1600) . Turnhout, Belgium, 2007, p. 25.Jan van Eyck . Cologne, 2008, pp. 86, 89, ill. p. 87 (color), dates it about 1440 and calls it "a late composition upon which the workshop probably collaborated and which may in turn have taken up earlier versions of the subject by the master".Revue de l'art no. 161 (2008), p. 75.Revue de l'art no. 160 (2008), pp. 82–83, juxtaposes the contributions of Montgomery [Ref. 1994] and Leonardi [Ref. 2007] in their discussions of Van Eyck's observation of the moon in the Crucifixion.Revue de l'art no. 161 (2008), pp. 75–76.Revue de l'art no. 161 (2008), pp. 77–78 n. 6, comments on Montgomery's [see Refs. 1994 and 1999] contradictory assessment of the time of day indicated in the Crucifixion based on the appearance of the moon; points out that in European latitudes the gibbous moon with its right side in shadow—as is the case here Crucifixion—must indicate a morning hour.in Giovanni Bellini . Exh. cat., Scuderie del Quirinale, Rome. Cinisello Balsamo, Milan, 2008, p. 182.in Mantegna, 1431–1506 . Exh. cat., Musée du Louvre. Paris, 2008, pp. 172–73.
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