Having just entered the room, the angel Gabriel is about to tell the Virgin Mary that she will be the mother of Jesus. The golden rays pouring in through the left oculus carry a miniature figure with a cross. On the right wing, Joseph, who is betrothed to the Virgin, works in his carpenter’s shop, drilling holes in a board. The mousetraps on the bench and in the shop window opening onto the street are thought to allude to references in the writings of Saint Augustine identifying the cross as the devil’s mousetrap. On the left wing, the kneeling donor appears to witness the central scene through the open door. His wife kneels behind him, and a town messenger stands at the garden gate. The owners would have purchased the triptych to use in private prayer. An image of Christ’s conception in an interior not unlike the one in which they lived also may have reinforced their hope for their own children. One of the most celebrated early Netherlandish paintings—particularly for its detailed observation, rich imagery, and superb condition—this triptych belongs to a group of paintings associated with the Tournai workshop of Robert Campin (ca. 1375–1444), sometimes called the Master of Flémalle. Documents indicate that he hired at least two assistants, the young Rogier van der Weyden (ca. 1400–1464) and Jacques Daret (ca. 1404–1468). Stylistic and technical evidence suggests that the altarpiece was executed in phases. The Annunciation, which follows a slightly earlier workshop composition, probably was not commissioned. Shortly thereafter, the male donor ordered the wings, which appear to have been painted by two artists. At a later point, in the 1430s, presumably following the donor’s marriage, the portraits of his wife and of the messenger were added. The windows of the central panel, originally covered with gold leaf, were painted with a blue sky, and the armorial shields were added afterward.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Annunciation Triptych (Merode Altarpiece)
Artist:Workshop of Robert Campin (Netherlandish, ca. 1375–1444 Tournai)
Date:ca. 1427–32
Geography:Made in Tournai, South Netherlands
Culture:South Netherlandish
Medium:Oil on oak
Dimensions:Overall (open): 25 3/8 x 46 3/8 in. (64.5 x 117.8 cm) Central panel: 25 1/4 x 24 7/8 in. (64.1 x 63.2 cm) each wing: 25 3/8 x 10 3/4 in. (64.5 x 27.3 cm)
Classification:Paintings-Panels
Credit Line:The Cloisters Collection, 1956
Accession Number:56.70a–c
Marking: Arms (central panel, left window): D'or au chevron de sable charge sur sa pointe d'une chaine de quatre chainons d'argent elle meme placee en chevron. For Ingelbrechts (Ingelbrechts or Ymbrechts) of Malines and Spain. Arms (central panel, right window): D'or a la fasce de gueules accolee de trois annelets de meme. Possibly for Calcum (Lohausen) family, Germany. Arms on shield of figure behind the donors): D'or aux trois pals de gueles.
Pierre d'Alcantara Charles Marie d'Arenberg, prince d'Arenberg, Paris (1820–1849) ; presented as a wedding gift to his daughter, comtesse Marie-Nicolette de Merode, Westerloo-Tongerloo and Brussels (1849–d. 1905) ; by descent to her daughter, comtesse Jeanne de Merode, Westerloo-Tongerloo and Brussels (1905–d. 1944) ; by descent to her niece, comtesse Jeanne de Grunne (1944–1956) ; [ Rosenberg & Stiebel, New York (sold 1956)]
Bruges. Maison du Gouverneur. "Exposition de la Toison d'Or à Bruges," June–October 1907.
Paris. Galerie nationale du Jeu de Paume. "Exposition de l'art Belge ancien et moderne," 1923.
New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971, no. 215.
New York. The Metropolitan Museum of Art. "From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art," September 22, 1998–February 21, 1999, no. 2.
Städel Museum. "The Master of Flémalle and Rogier van der Weyden," November 21, 2008–March 1, 2009.
Bode,Wilhelm von. "La Renaissance au musée de Berlin." Gazette des beaux-arts, 2nd ser., 35, no. 2 (March 1887). pp. 218–19.
Hymans, Henri. "Les Musées de Madrid: Le Musée de Prado IV." Gazette des Beaux-Arts, 3rd ser., 9, no. 5 (May 1893). pp. 386–87.
Tschudi, Hugo von. "London. Die Ausstellung altniederländischer Gemälde im Burlington Fine Arts Club." Repertorium für Kunstwissenschaft 16 (1893). p. 103.
Firmenich-Richartz, Eduard. "Roger van der Weyden, der Meister von Flémalle, part 1." Zeitschrift für bildende Kunst, n.s., 10, no. 1 (October 1898). pp. 1–2.
Tschudi, Hugo von. "Der Meister von Flémalle." Jahrbuch der Königlich Preussischen Kunstsammlungen 19 (1898). pp. 8–12, 26.
Wallis, Henry. Oak-leaf Jars: A Fifteenth Century Italian Ware Showing Moresco Influence. London: Bernard Quaritch, 1903. pp. xxxix, xl, fig. 62.2, (ill. detail, etching after the vase).
Firmenich-Richartz, Eduard. Kunsthistorische Ausstellung Düsseldorf 1904: Katalog. Düsseldorf: Verlag der Ausstellungsleitung, 1904. p. 50.
Hasse, Carl. Roger van Brügge, der Meister von Flemalle. Strasbourg: J. H. Ed. Heitz, 1904. pp. 32–34.
Heins, Armand, and Georges Hulin de Loo. "La vue de Gand qui paraît avoir été interprétée sur les volets de l'Annonciation du Maître de Flémalle ou de Mérode." Bulletin de la société d'histoire et d'archéologie de Gand 15, no. 5 (1907). pp. 201–20.
Hymans, Henri. "L'exposition de la Toison d'Or à Bruges." L'art flamand & hollandais 8, no. 9 (1907). pp. 85–89, ill. opp. pp. 88–89.
Hymans, Henri. "L'exposition de la Toison d'Or à Bruges." Gazette des beaux-arts, 3rd ser., 38, no. 3 (October 1907). pp. 296–97, ill. opp. p. 296.
Fierens-Gevaert, Hippolyte. La peinture en Belgique: Les primitifs flamands. Vol. 1. Brussels: G. van Oest, 1908. pp. 64–65, pl. 41.
Richter, Louise M. "A Lost Altarpiece by the Maître de Flémalle." Burlington Magazine 13 (June 1908). p. 161.
Bautier, Pierre. "I recenti acquisti del museo di Bruxelles." Rassegna d'arte 12 (July 1912). p. 108.
Fierens-Gevaert, Hippolyte. La peinture au musée ancien de Bruxelles. Brussels: G. van Oest, 1913. p. 4.
Maeterlinck, Louis. Une école primitive méconnue: Nabur Martins ou le Maître de Flémalle (nouveaux documents). Brussels: G. van Oest, 1913. pp. 52, 57.
Winkler, Friedrich. Der Meister von Flémalle und Rogier van der Weyden. Strasbourg: J. H. Ed. Heitz, 1913. pp. 11, 27–28, 30–31, 39.
Fierens-Gevaert, Hippolyte. The Brussels Gallery of Old Masters. Brussels: G. van Oest, 1914. p. 3.
Reinach, Salomon. Répertoire de peintures du moyen age et de la renaissance (1280–1580). Vol. 4. Paris: Ernest Leroux, 1918. ill. p. 56 (print after the painting).
Conway, Martin. The Van Eycks and Their Followers. London: John Murray, 1921. pp. 117–19, pl. IV, fig. 3.
Huizinga, Johan. Herfsttij der Middeleeuwen: Studie over Levens - en Gedachtenvormen der Veertiende en Vijftiende eeuw in Frankrijk en de Nederlanden. 2nd Dutch ed. Haarlem: H. D. Tjeenk Willink en Zoon, 1921. p. 535.
Maeterlinck, Louis. Hubert van Eyck et les peintres de son temps. Paris: Jean Schemit, Libraire, 1921. pp. 78–79, fig. 50.
Friedländer, Max J. Die altniederländische Malerei: Volume 2, Rogier van der Weyden und der Meister von Flémalle. Berlin: Paul Cassirer, 1924. no. 54, pp. 61–66, 109, pls. 46–47.
Verlant, Ernest. La peinture ancienne à l'exposition de l'art belge à Paris en 1923. Brussels: G. van Oest, 1924. no. 9, pp. 39–41, pls. 13–14.
Winkler, Friedrich. Die altniederländische Malerei: Die Malerei in Belgien und Holland von 1400–1600. Berlin: Propyläen, 1924. pp. 64, 66–68.
Hocquet, Adolphe. "Le Maître de Flémalle." Annales de l'academie royale d'archéologie de Belgique 73 (1925). pp. 6–11.
Maeterlinck, Louis. Une école préeyckienne inconnue. Paris: G. van Oest, 1925. p. 46, fig. 90.
Winkler, Friedrich. "Die flämisch-belgische Ausstellung in London." Der Kunstwanderer (February 1927). p. 222.
Destrée, Jules. "Le Maître dit de Flémalle: Robert Campin." Revue de l'art ancien et moderne 53 (January–May 1928). pp. 82, 84–92, pl. 12.
Fierens-Gevaert, Hippolyte. Histoire de la peinture flamande des origines à la fin du XVe siècle: Volume 2, Les continuateurs des Van Eyck. Paris: G. van Oest, 1928. pp. 10–14, pl. 1.
Jamot, Paul. "Roger van der Weyden et le prétendu Maître de Flémalle." Gazette des beaux-arts, 5th ser., 70, no. 18 (1928). pp. 265, 271–72, 279–80, ill. p. 278.
Schmarsow, August. Robert van der Kampine und Roger van der Weyden: Kompositionsgesetze des Mittelalters in der Nordeuropäischen Renaissance. Leipzig: S. Hirzel, 1928. pp. 27–30.
Destrée, Jules. "Le Maître dit de Flémalle: Robert Campin." Revue de l'art ancien et moderne 56 (September–October 1929). pp. 128–30, 134, ill. p. 123 (detail).
Dülberg, Franz. Niederländische Malerei der Spätgotik und Renaissance. Potsdam: Akademische Verlagsgesellschaft Athenaion, 1929. p. 37.
Renders, Emile. "L'énigme du Maître de Flémalle." Revue d'art 30 (January–June 1929). pp. 197–98.
Rolland, Paul. "Roger de la Pasture (van der Weyden) est-il le 'Maître de Flémalle'?." Revue d'art 30 (January–June 1929). p. 96.
Destrée, Jules. Roger de la Pasture—van der Weyden. Vol. 2. Paris: G. van Oest, 1930. pl. 115 (central panel).
Renders, Emile. La Solution du problème Van der Weyden-Flémalle-Campin. Vol. 1. Bruges: Charles Beyaert, 1931. pp. 77, 86, 107, 109–10.
Renders, Emile. La Solution du problème Van der Weyden-Flémalle-Campin. Vol. 2. Bruges: Charles Beyaert, 1931. p. 34, pls. 3E, 5, 9D.
Rolland, Paul. Les primitifs Tournaisiens, peintres & sculpteurs. Brussels: Librairie Nationale d'Art et d'Histoire, 1932. pp. 30, 39–40.
Tolnai, Karl von. "Zur Herkunft des Stiles der van Eyck." Münchner Jahrbuch der bildenden Kunst, n.s., 9 (1932). pp. 322, 335–38.
Museo del Prado: Catálogo. Madrid: Museo del Prado, 1933. pp. 388–89.
Huizinga, Johan. Herfsttij der Middeleeuwen: Studie over Levens- en Gedachtenvormen der Veertiende en Vijftiende eeuw in Frankrijk en de Nederlanden. 4th Dutch ed. Haarlem: H. D. Tjeenk Willink en Zoon, 1935. p. 437.
Panofsky, Erwin. "The Friedsam Annunciation and the Problem of the Ghent Altarpiece." The Art Bulletin 17, no. 4 (December 1935). p. 441, fig. 27.
Lavalleye, Jacques. "De vlaamsche schilderkunst tot ongeveer 1480." In Geschiedenis van de vlaamsche kunst, edited by Stan Leurs. Antwerp: De Sikkel, 1936. p. 186, fig. 115.
Robb, David M. "The Iconography of the Annunciation in the Fourteenth and Fifteenth Centuries." The Art Bulletin 18, no. 4 (December 1936). pp. 500, 503–5, 523, 525, fig. 29.
Burroughs, Alan. Art Criticism from a Laboratory. Boston: Little, Brown and Company, 1938. pp. 208–12, 216.
Fierens, Paul. La Peinture flamande des origines à Quentin Metsys. Paris: Editions d'Art et d'Histoire, 1938. pp. 26–28, pl. XVII.
Tolnay, Charles de. Le Maître de Flémalle et les frères van Eyck. Brussels: Editions de la Connaissance, 1939. no. 4, pp. 15, 23–25, 56, 6–8.
Held, Julius S. "Book Reviews: Alan Burroughs, Art Criticism from a Laboratory." The Art Bulletin 22, no. 1 (March 1940). pp. 42–43.
Fansler, Roberta M., and Margaret R. Scherer. Painting in Flanders. New York: The Metropolitan Museum of Art, 1945. p. 26.
Meiss, Millard. "Light as Form and Symbol in Some Fifteenth-century Paintings." The Art Bulletin 27, no. 3 (September 1945). pp. 178–79, fig. 3.
Schapiro, Meyer. "'Muscipula Diaboli,' the Symbolism of the Mérode Altarpiece." The Art Bulletin 27, no. 3 (September 1945). pp. 182–87, fig. 1.
Lotthé, Ernest. La pensée chrétienne dans la peinture flamande et hollandaise. Vol. 1. Lille: S. I. L. I. C., 1947. pp. 23–25, pl. 5.
Musper, Heinrich Theodor. Untersuchungen zu Rogier van der Weyden und Jan van Eyck. Stuttgart: W. Kohlhammer Verlag, 1948. pp. 15–17, 33–34, 39, 44–45, pls. 31–33.
Beenken, Hermann. Rogier van der Weyden. Munich: Bruckmann, 1951. pp. 22–23, fig. 5.
Baldass, Ludwig. Jan van Eyck. New York: Phaidon, 1952. pp. 19–20, 67–68, fig. 19, 64.
Panofsky, Erwin. Early Netherlandish Painting: Its Origins and Character. Vol. 1. Cambridge: Harvard University Press, 1953. pp. 129, 136, 142–43, 164–67, 222, 304–5, 449 (p. 222 n. 2).
Panofsky, Erwin. Early Netherlandish Painting: Its Origins and Character. Vol. 2. Cambridge: Harvard University Press, 1953. fig. 204, pl. 91.
Puyvelde, Leo van. La peinture flamande au siècle des van Eyck. Paris: Elsevier, 1953. pp. 129–30, 132, ill. pp. 22, 120, 122, 134.
Genaille, Robert. Flemish Painting from Van Eyck to Brueghel. London: A. Zwemmer, 1954. pp. 33, 133.
Pieper, Paul. "Zum Werl-Altar des Meisters von Flémalle." Wallraf-Richartz-Jahrbuch 16 (1954). pp. 88–89, 96–98, 100–101.
Die, H. "Original und nicht Kopie!." Die Weltkunst 25, no. 10 (May 15, 1955). pp. 11–12.
Held, Julius S. "Book Reviews: Erwin Panofsky, Early Netherlandish Painting, Its Origin[s] and Character." The Art Bulletin 37, no. 3 (September 1955). p. 227.
Rohlfs-von Wittich, Anna. "Das Innenraumbild als Kriterium für Bildwelt." Zeitschrift für Kunstgeschichte 18, no. 2 (1955). p. 132.
Tovell, Ruth Massey. Roger van der Weyden and the Flémalle Enigma. Toronto: Burns and MacEachern, 1955. pp. 8, 10, 14–16, 50–51.
Roth, C. "Medieval Illustrations of Mouse-traps." Bodleian Library Record 5 (May 1956). p. 251.
Freeman, Margaret. "The Iconography of the Merode Altarpiece." The Metropolitan Museum of Art Bulletin, n.s., 16, no. 4 (December 1957). pp. 130–139.
Gottlieb, Carla. "The Brussels Version of the Mérode 'Annunciation'." The Art Bulletin 39, no. 1 (March 1957). pp. 53–60, fig. 2.
Rorimer, James J. "Notes on the Cover." The Metropolitan Museum of Art Bulletin, n.s., 16, no. 4 (December 1957). inside cover; ill. on cover (color detail).
Rousseau, Theodore Jr. "The Merode Altarpiece." The Metropolitan Museum of Art Bulletin, n.s., 16, no. 4 (December 1957). pp. 117–129.
Suhr, William. "The Restoration of the Merode Altarpiece." The Metropolitan Museum of Art Bulletin, n.s., 16, no. 4 (December 1957). pp. 140–44.
Larsen, Erik. "Brief aus Amerika." Alte und Neue Kunst 9, no. 1/2 (1958). p. 32.
Neugass, Fritz. "Über die Geschichte des Merode-Altars." Das Kunstwerk 12 (September 1958). pp. 4, 13, ill. pp. 1, 5–12.
Art ancien: Musées royaux des beaux-arts de Bruxelles. Brussels: Musées Royaux des Beaux-Arts de Belgique, 1958. under no. 2.
Puyvelde, Leo van. "L'Annonciation du Maître de Flémalle." Revue belge d'archéologie et d'histoire de l'art 27 (1958). pp. 193–207, fig. 1–3.
Stange, Alfred. Deutsche Malerei der Gotik: Volume 9, Franken, Böhmen und Thüringen-Sachsen in der Zeit von 1400 bis 1500. Vol. 9. Berlin: Deutscher Kunstverlag, 1958. p. 137.
Suhr, William. "Die Restaurierung des Merode-Altars." Das Kunstwerk 12 (September 1958). pp. 3–4.
The Metropolitan Museum of Art. "Eighty-Eighth Annual Report of the Trustees for the Fiscal Year 1957-1958." The Metropolitan Museum of Art Bulletin, n.s., 17, no. 2 (October 1958). pp. 52–54.
Canaday, John. Metropolitan Seminars in Art, Great Periods in Painting, Portfolio B: Earth, Heaven, and Hell; Man and Mystery in the Middle Ages. New York: The Metropolitan Museum of Art, 1959. pp. 21–22, 24, fig. 19, colorpl. B6.
Notebaert, Emile. "Contribution à l'identification du paysage architectural dans les oeuvres des Primitifs Flamands." Feuille de contact . . . de l'Institut Supérieur Saint-Luc 8 (June 1959). pp. 1–4, fig. 2.
Schapiro, Meyer. "A Note on the Mérode Altarpiece." The Art Bulletin 41, no. 4 (December 1959). pp. 327–28, fig. 1.
Tolnay, Charles de. "L'autel Mérode du Maitre de Flémalle." Gazette des beaux-arts, 6th ser., 53 (February 1959). pp. 65–78, fig. 1–2, 4–5, 7–10.
Freeman, Margaret B. "The Annunciation from a Book of Hours for Charles of France." The Metropolitan Museum of Art Bulletin, n.s., 19, no. 4 (December 1960). p. 105, fig. 3.
Gottlieb, Carla. "The Mystical Window in Paintings of the Salvator Mundi." Gazette des beaux-arts, 6th ser., 56 (December 1960). p. 318.
Larsen, Erik. Les primitifs flamands au Musée metropolitain de New York. Utrecht: Spectrum, 1960. pp. 47–49, 111–12.
Randall Jr., Richard H. A Cloisters Bestiary. New York: The Metropolitan Museum of Art, 1960. p. 47.
Tolnay, Charles de. "Supplément concernant l'autel Mérode du Maitre de Flémalle." Gazette des beaux-arts, 6th ser., 55 (March 1960). pp. 177–78, fig. 2 (x–ray detail).
Zeri, Federico. "Un trittico del 'Maestro della leggenda di Santa Barbara'." Paragone 2, no. 125 (May 1960). p. 43.
Birkmeyer, Karl M. "The Arch Motif in Netherlandish Painting of the Fifteenth Century, Part One." The Art Bulletin 43, no. 1 (March 1961). pp. 2, 11.
Meiss, Millard. "'Highlands' in the Lowlands: Jan van Eyck, the Master of Flemalle and the Franco-Italian Tradition." Gazette des beaux-arts, 6th ser., 57 (May–June 1961). pp. 278–80, 310 n. 10.
Musper, Heinrich Theodor. Gotische Malerei nördlich der Alpen. Cologne: DuMont, 1961. p. 229.
McNamee, M. B. "Further Symbolism in the Portinari Altarpiece." The Art Bulletin 45, no. 2 (June 1963). p. 143.
Murray, Peter, and Linda Murray. The Art of the Renaissance. New York: Praeger, 1963. pp. 68, 70–72, colorpl. 50 and pl. 53.
Rorimer, James J. The Cloisters: The Building and the Collection of Medieval Art in Fort Tryon Park. 3rd revised ed. New York: The Metropolitan Museum of Art, 1963. pp. 186–90, fig. 93–95.
Bainton, Roland Herbert. The Horizon History of Christianity. New York: American Heritage Publishing Co., 1964. pp. 236–27.
Bruin, T. L. de. "Die versteckte Signatur." Die Weltkunst 34 (March 1964). p. 174.
Eisler, Colin. "Book Reviews: Erik Larsen, Les primitifs flamands au Musée Metropolitain de New York, 1960." The Art Bulletin 46, no. 1 (March 1964). pp. 99, 101.
Bruin, T. L. de. "Le Maître de Flémalle et sa crypto-signature." Gazette des beaux-arts, 6th ser., 67 (January 1966). pp. 5–6, fig. 1–2, ill. on cover.
Bruin, T. L. de. "Inschriften auf alten religiösen Abbildungen." Das Münster 19, no. 9/10 (1966). p. 401.
Châtelet, Albert. "Roger van der Weyden et Jean van Eyck." Jaarboek van het Koninklijk Museum voor Schone Kunsten te Antwerpen (1966). pp. 28–29.
Frinta, Mojmír S. The Genius of Robert Campin. The Hague: Mouton & Co., 1966. pp. 5, 13–28, 31, 34–37, 39–41, 43 n. 8, p. 44 n. 9, pp. 47, 50–52, 58, 66, 69, 72, 74–75, 79–81, 84 n. 1, pp. 117, 120, fig. 11–24.
Berg, Gösta. "Medieval Mouse Traps." Studia Ethnographica Upsaliensia 26 (1966). pp. 1, 4–5, 7–10, 13, fig. 1.
Jacob, John. "Letter: The Mérode Mousetrap." Burlington Magazine 108, no. 760 (July 1966). pp. 373–74.
Nickel, Helmut. "The Man Beside the Gate." The Metropolitan Museum of Art Bulletin, n.s., 24, no. 8 (April 1966). pp. 237–44, fig. 1, 9, 10, ill. on frontispiece.
Nickel, Helmut. "Letter: The Mousetraps of the Mérode Altar-piece again." Burlington Magazine 108, no. 764 (November 1966). p. 577.
Squilbeck, Jean. "Un aspect peu connu de la personnalité du Maître de Flémalle." Revue belge d'archéologie et d'histoire de l'art 35, nos. 1–2 (1966). pp. 3–5, 7–8, 10, 12, 14.
Stewart, Stanley. The Enclosed Garden: The Tradition and the Image in Seventeenth-Century Poetry. Madison: University of Wisconsin Press, 1966. pp. 47, 98.
Zupnick, Irving L. "The Mystery of the Mérode Mousetrap." Burlington Magazine 108, no. 756 (March 1966). pp. 126–33, fig. 21–23.
Bazin, Germain. The Museum Age. New York: Universe Books, 1967. p. 256, fig. 125.
Friedländer, Max J. Early Netherlandish Painting: Volume 2, Rogier van der Weyden and the Master of Flémalle. New York: Frederick A. Praeger, 1967. no. 54, pp. 36–41, 43, 70, 100 nn. 50–51, pls. 77–79.
Huysmans, J.-K. Trois primitifs: les Grünewald du musée de Colmar, le Maître de Flémalle et la Florentine du musée de Francfort-sur-le-Main. Reprint ed. Paris: Flammarion, 1967. no. 17, pp. 68–69, 124.
Puyvelde, Leo van. "La genèse de la forme artistique chez Rogier van der Weyden." In Stil und Überlieferung in der Kunst des Abendlandes: Volume 1, Epochen europäischer Kunst. International Congress of the History of Art, Vol. 21. Berlin: Gebr. Mann, 1967. p. 50.
Pächt, Otto. "Künstlerische Originalität und ikonographische Erneuerung." In Stil und Überlieferung in der Kunst des Abendlandes: Volume 3, Theorien und Probleme. International Congress of the History of Art, Vol. 21. Berlin: Gebr. Mann, 1967. pp. 265–71, pl. 47.2.
Cuttler, Charles D. Northern Painting from Pucelle to Bruegel. New York: Holt, Rinehart and Winston, 1968. pp. 76–77, 488 n. 1–3, pl. 7.
Freeman, Margaret B. The St. Martin Embroideries: A Fifteenth-century Series Illustrating the Life and Legend of St. Martin of Tours. [New York]: The Metropolitan Museum of Art, 1968. pp. 103–4, fig. 59.
Frinta, Mojmír S. "The Authorship of the Merode Altarpiece." Art Quarterly 31, no. 3 (1968). pp. 247–65, fig. 1–17.
Heckscher, William S. "The Annunciation of the Merode Altarpiece: An Iconographic Study." In Miscellanea Jozef Duverger. Vol. 1. Ghent: Vereniging voor de Geschiedenis der Textielkunsten, 1968. pp. 37–65, fig. 1–3, 5.
Blum, Shirley Neilsen. Early Netherlandish Triptychs: A Study in Patronage. Berkeley: University of California Press, 1969. pp. 8–12, 14, fig. 3, pl. II.
Minott, Charles Ilsley. "The Theme of the Mérode Altarpiece." The Art Bulletin 51, no. 3 (September 1969). pp. 267–71, fig. 1–2, 6–7.
Reuterswärd, Patrik. "What Color Is Divine Light?." In Light, From Aten to Laser, edited by Thomas B. Hess, and John Ashbery. New York: Macmillan, 1969. pp. 113, 115, 126 n. 11, ill. p. 110.
Sonkes, Micheline. Dessins du XVe siècle: groupe van der Weyden. Brussels: Centre National de Recherches "Primitifs flamands", 1969. p. 46.
Bialostocki, Jan. "The Eye and the Window." In Festschrift für Gert von der Osten, edited by Horst Keller et al. Cologne: DuMont Schauberg, 1970. pp. 164, 167.
Gottlieb, Carla. "Respiciens per Fenestras: The Symbolism of the Mérode Altarpiece." Oud-Holland 85, no. 2 (1970). pp. 65–84, fig. 1, 6, 9.
The Metropolitan Museum of Art. Masterpieces of Fifty Centuries. New York: Dutton Publishing, 1970. no. 204, p. 215.
Smith, Graham. "The Exterior of the Bladelin Altarpiece and the Master FVB." Oud-Holland 85, no. 2 (1970). p. 116.
Tomkins, Calvin. Merchants and Masterpieces: The Story of the Metropolitan Museum of Art. New York: E. P. Dutton, 1970. pp. 334–35.
Hayward, Jane. "Sacred Vestments as They Developed in the Middle Ages." The Metropolitan Museum of Art Bulletin, n.s., 29, no. 7 (March 1971). p. 306, fig. 9.
Philip, Lotte Brand. The Ghent Altarpiece and the Art of Jan van Eyck. Princeton: Princeton University Press, 1971. pp. 82–83, 86, 87 n. 177, p. 89 n. 182, pp. 94, 124–28, 136, 147–48 nn. 295–96, p. 161 n. 318, pp. 168–72 n. 337, fig. 82, 84.
Sonkes, Micheline. "Le dessin sous-jacent chez Roger van der Weyden et le problème de la personnalité du Maître de Flémalle." Institut Royal du Patrimoine Artistique Bulletin 13 (1971/72). pp. 161, 163, 189, 202, 204–5.
Urbach, Susan. "Review: Charles D. Cuttler, Northern Painting from Pucelle to Bruegel, 1968." Acta Historiae Artium 17 (1971). p. 131.
Davies, Martin. Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin. London: Phaidon, 1972. pp. 6, 191, 236, 257–60, pls. 141–43.
Deuchler, Florens. "The Cloisters: Ein Museum für mittelalterliche Kunst in New York." Du 32, no. 2 (1972). p. 139.
Links, J. G. Townscape Painting and Drawing. New York: Harper & Row, 1972. pp. 39–41.
Schabacker, Peter H. "Review: Martin Davies, Rogier van der Weyden." Art Quarterly 35, no. 4 (1972). pp. 423–24.
Fry, Roger. "Letter 232 (September 20, 1907)." In Letters of Roger Fry, edited by Denys Sutton. Vol. 1. New York: Random House, 1972. p. 290.
Campbell, Lorne. "Studies in Early Netherlandish Art." Apollo 98 (July 1973). p. 64.
Nordenfalk, Carl. "Outdoors—Indoors: A 2000-Year-Old Space Problem in Western Art." Proceedings of the American Philosophical Society 117, no. 4 (August 1973). pp. 233, 243, fig. 16.
Campbell, Lorne. "Robert Campin, the Master of Flémalle and the Master of Mérode." Burlington Magazine 116, no. 860 (November 1974). pp. 638, 643–45, fig. 14.
Pächt, Otto. "Die Autorschaft des Gonella-bildnisses." Jahrbuch der kunsthistorischen Sammlungen in Wien 70 (1974). p. 77, fig. 67.
Schabacker, Peter H. Petrus Christus. Utrecht: Haentjens Dekker & Gumbert, 1974. pp. 57, 101, 106, 114, fig. 38.
Csilléry, Klára. "Egy németalföldi eredetü magyar népi bútor: a csuklós támlájú pad (The bench with the reversible back: a piece of Hungarian peasant furniture of Netherlandish origin)." Néprajzi értesíto 57 (1975). pp. 5–66.
Farquhar, James Douglas. "Review: Martin Davies, Rogier van der Weyden." Art Journal 35, no. 2 (Winter 1975–76). p. 182.
Gottlieb, Carla. "The Window in the Eye and Globe." The Art Bulletin 57, no. 4 (December 1975). p. 559.
Kerber, Ottmar. "Rogier van der Weyden." Giessener Beiträge zur Kunstgeschichte 3 (1975). pp. 16–17, 50, 52, 56.
Whitehouse, David. "Tuscania and Italian Maiolica of the Fifteenth Century." Art and Archaeology Research Papers 8 (December 1975). pp. 51–52, fig. 13.
Arasse, Daniel. "A propos de l'article de Meyer Schapiro, Muscipola [sic] Diaboli: le 'réseau figuratif' du rétable de Mérode." In Symboles de la Renaissance, edited by Daniel Arasse. Vol. 1. Paris: Presses de l'Ecole Normale Supérieure, 1976. pp. 47–51, fig. 1–2.
Duchesne-Guillemin, Jacques. "On the Cityscape of the Merode Altarpiece." Metropolitan Museum Journal 11 (1976). pp. 129–131, fig. 1, 2.
Schapiro, Meyer. "'Muscipula diaboli', le symbolisme du retable de Mérode." In Symboles de la Renaissance, edited by Daniel Arasse. Vol. 1. Paris: Presses de l'Ecole Normale Supérieure, 1976. pp. 39–45.
Wight, Frederick S. The Potent Image: Art in the Western World from Cave Paintings to the 1970s. New York: Collier Books, 1976. pp. 85–86.
Gottlieb, Carla. "Disguised Symbolism in the Gulbenkian Annunciation." Colóquio / Artes 32 (April 1977). pp. 24–33, fig. 2.
Lavin, Marilyn Aronberg. "The Mystic Winepress in the Mérode Altarpiece." In Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss: Volume 1, Text, edited by Irving Lavin, and John Plummer. New York: New York University Press, 1977. pp. 297–301.
Lavin, Irving, and John Plummer, ed. Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss: Volume 2, Plates. New York: New York University Press, 1977. p. 103, fig. 1.
Scheil, Elfriede. "Fayencen in der Malerei des Mittelalters." PhD diss., Ludwig-Maximilians-Universität, Munich, 1977. no. 21, 21a, pp. 29–31, pls. 4–5.
Swaan, Wim. The Late Middle Ages: Art and Architecture from 1350 to the Advent of the Renaissance. Ithaca: Cornell University Press, 1977. p. 110, fig. 160–62.
Reynaud, Nicole. "Les Maîtres à 'noms de convention'." Revue de l'art no. 42 (1978). p. 46, fig. 14.
Ames-Lewis, Francis. "Fra Filippo Lippi and Flanders." Zeitschrift für Kunstgeschichte 42, no. 1 (1979). pp. 258–60, 263, fig. 4.
Châtelet, Albert. Van Eyck. Bologna: Capitol, 1979. p. 22.
Marrow, James H. Passion Iconography in Northern European Art of the Late Middle Ages and Early Renaissance: A Study of the Transformation of Sacred Metaphor into Descriptive Narrative. Kortrijk: Van Ghemmert Publishing Company, 1979. p. 180.
Martiny, V. G. "Architecture in Brussels in Van der Weyden's Time." In Rogier van der Weyden / Rogier de le Pasture: Official Painter to the City of Brussels, Portrait Painter of the Burgundian Court. Brussels: Musée de la Ville de Bruxelles, Maison du Roi, 1979. p. 98.
Young, Bonnie. A Walk Through The Cloisters. New York: The Metropolitan Museum of Art, 1979. pp. 112–19.
Baetjer, Katharine. European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue. Vol. 3. New York: The Metropolitan Museum of Art, 1980. p. 327.
Baetjer, Katharine. European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue. Vol. 1. New York: The Metropolitan Museum of Art, 1980. p. 23.
Bermejo Martinez, Elisa. La pintura de los primitivos flamencos en España. Vol. 1. Madrid: Consejo Superior de Investigaciones Científicas, Instituto "Diego Velázquez", 1980. p. 84.
Hibbard, Howard. The Metropolitan Museum of Art. New York: Harper & Row, 1980. pp. 181, 183, 185–86, 237, fig. 345–48.
Schiller, Gertrud. Ikonographie der christlichen Kunst. Vol. 4, pt. 2. Gütersloh, Germany: Gütersloher Verlagshaus Gerd Mohn, 1980. p. 191.
Châtelet, Albert. "Fenêtre et fontaine dans l'Annonciation." In Études d'art médiéval offertes à Louis Grodecki, edited by Sumner McK. Crosby, André Chastel, Anne Prache, and Albert Châtelet. Paris: Editions Ophrys, 1981. pp. 317–24, fig. 1.
De Coo, Jozef. "A Medieval Look at the Merode Annunciation." Zeitschrift für Kunstgeschichte 44, no. 2 (1981). pp. 114–32, fig. 1–2.
Frinta, Mojmír Svatopluk. "The Style of the Underdrawing: To What Extent Reflecting the Distinct Temperament and How Much Indebted to a Drawing Tradition?." In Le dessin sous-jacent dans la peinture, edited by Dominique Hollanders-Favart, and Roger van Schoute. Colloque, Vol. 3. Louvain-la-Neuve: Collège Érasme, 1981. pp. 74, 79, 82, pl. 15.
Gottlieb, Carla. The Window in Art: from the Window of God to the Vanity of Man; a Survey of Window Symbolism in Western Painting. New York: Abaris Books, 1981. pp. 114–21, 125, 138, 142, 144, fig. 55, 68.
Reinle, Adolf. "Fensterladen." In Reallexikon zur Deutschen Kunstgeschichte, edited by Karl-August Wirth. Vol. 7. Munich: Beck'schen Verlagsbuchhandlung, 1981. cols. 1503, 1505–6, 1511, 1516, fig. 2a and b.
J. R. J. van Asperen de Boer et al., W. J. Engelsman, and Jan Piet Filedt Kok. "A Progress Report on the Investigation of the Underdrawing in the Paintings of the Group van der Weyden/Flemalle." In Le dessin sous-jacent dans la peinture, edited by Roger van Schoute, and Dominique Hollanders-Favart. Colloque, Vol. 4. Louvain-la-Neuve: Collège Érasme, 1982. pp. 98–99, 101 n. 2, pl. 21.
Bell, Susan Groag. "Medieval Women Book Owners: Arbiters of Lay Piety and Ambassadors of Culture." Signs: Journal of Women in Culture and Society 7, no. 4 (Summer 1982). p. 761, fig. 2.
Callmann, Ellen. "Campin's Maiolica Pitcher." The Art Bulletin 64, no. 4 (December 1982). pp. 629–31, fig. 1, 3.
Frinta, Mojmír Svatopluk. "Some Observations on the Campinesque 'Annunciation' in Brussels." In Le dessin sous-jacent dans la peinture, edited by Roger van Schoute, and Dominique Hollanders-Favart. Colloque, Vol. 4. Louvain-la-Neuve: Collège Érasme, 1982. pp. 87–97.
Purtle, Carol J. The Marian Paintings of Jan van Eyck. Princeton: Princeton University Press, 1982. pp. 24 n. 32, 30 n. 48.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 1983. no. 28, pp. 370–71.
Snyder, James. "Robert Campin." In Dictionary of the Middle Ages, edited by Joseph R. Strayer. Vol. 3. New York: Scribner, 1983. p. 61.
Lane, Barbara G. The Altar and the Altarpiece: Sacramental Themes in Early Netherlandish Painting. New York: Harper & Row, 1984. pp. 42–43, 45, 47, fig. 25.
Minott, Charles I. "Notes on the Iconography of Robert Campin's 'Nativity' in Dijon." In Tribute to Lotte Brand Philip: Art Historian and Detective, edited by William W. Clark, Colin Eisler, William S. Heckscher, and Barbara G. Lane. New York: Abaris Books, 1985. pp. 114–15.
Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. New York: Harry N. Abrams, 1985. pp. 120–26, 156, 225, pl. 19.
Bauman, Guy C. "Early Flemish Portraits, 1425–1525." The Metropolitan Museum of Art Bulletin 43, no. 4 (Spring 1986). pp. 4–5, 18, 22, 60, fig. 1, 15.
Bedaux, Jan Baptist. "The Reality of Symbols: The Question of Disguised Symbolism in Jan van Eyck's 'Arnolfini Portrait'." Simiolus 16, no. 1 (1986). p. 25, fig. 19.
Blum, Shirley Neilsen. "The Open Window: A Renaissance View." In The Window in Twentieth-century Art. Purchase, N.Y.: Neuberger Museum, State University of New York at Purchase, 1986. pp. 10–11, fig. 3.
Buren, Anne H. van. "Thoughts, Old and New, on the Sources of Early Netherlandish Painting." Simiolus 16, no. 2/3 (1986). p. 96.
Hahn, Cynthia. "'Joseph Will Perfect, Mary Enlighten and Jesus Save Thee': The Holy Family as Marriage Model in the Mérode Triptych." The Art Bulletin 68, no. 1 (March 1986). pp. 54–66, fig. 1–2, 5.
Koslow, Susan. "The Curtain-Sack: A Newly Discovered Incarnation Motif in Rogier van der Weyden's 'Columba Annunciation'." Artibus et Historiae 7, no. 13 (1986). p. 11, fig. 4.
Asperen de Boer, J. R. J. van, and Jeltje Dijkstra. "Some Technical Aspects of Two Master of Flémalle Group Paintings: The Brussels and the Mérode Triptych." In Le dessin sous-jacent dans la peinture, edited by Roger van Schoute, and Hélène Verougstraete. Colloque, Vol. 6. Louvain-la-Neuve: Collège Érasme, 1987. pp. 41–44.
Carrier, David. "Naturalism and Allegory in Flemish Painting." Journal of Aesthetics and Art Criticism 45, no. 3 (Spring 1987). pp. 240, 243–44, 247, fig. 2.
Delenda, Odile. Rogier van der Weyden, Roger de Le Pasture. n.p.: Editions du Cerf, 1987. p. 35.
DuRette, B. Underwood. "The Smoking Candle of the Mérode Altarpiece." Athanor 6 (1987). pp. 9–12, fig. 1–2.
Husband, Timothy B., and Charles T. Little. Europe in the Middle Ages. New York: The Metropolitan Museum of Art, 1987. no. 127, pp. 136–137.
Snyder, James. The Renaissance in the North. The Metropolitan Museum of Art, Vol. 5. New York: The Metropolitan Museum of Art, 1987. pp. 8–9, fig. 2.
Lane, Barbara G. "Sacred Versus Profane in Early Netherlandish Painting." Simiolus 18, no. 3 (1988). pp. 108–9, fig. 2.
Stewart, Alison. "Joseph Drilling." The Art Bulletin 70, no. 1 (March 1988). p. 141.
Theuerkauff-Liederwald, Anna-Elisabeth. Mittelalterliche Bronze- und Messinggefässe: Eimer, Kannen, Lavabokesse. Bronzegeräte des Mittelalters, Vol. 4. Berlin: Deutscher Verlag für Kunstwissenschaft, 1988. p. 374, fig. 149 (detail).
Young, Bonnie. A Walk Through The Cloisters. 5th ed. New York: The Metropolitan Museum of Art, 1988. pp. 120–27.
Butzkamm, Aloys. Bild und Frömmigkeit im 15. Jahrhundert. Paderborn: Bonifatius, 1989. pp. 21–22, 63, 103, fig. 10, 46.
Dijkstra, Jeltje. "On the Role of Underdrawings and Modeldrawings in the Workshop Production of the Master of Flémalle and Rogier van der Weyden." In Le dessin sous-jacent dans la peinture, edited by Roger van Schoute, and Hélène Verougstraete-Marcq. Colloque, Vol. 7. Louvain-la-Neuve: Collège Érasme, 1989. pp. 41–43, pl. 9 (detail, infrared).
Erlande-Brandenburg, Alain. Gothic Art. New York: H. N. Abrams, 1989. p. 137.
Frodl-Kraft, Eva. "Das Bildfenster im Bild: Glasmalereien in den Interieurs der frühen Niederländer." In Bau- und Bilderkunst im Spiegel internationaler Forschung, edited by Marina Flügge. Berlin: Verlag für Bauwesen, 1989. pp. 170–71.
Asperen de Boer, J. R. J. van, Jeltje Dijkstra, and Roger van Schoute. Underdrawing in Paintings of the Rogier van der Weyden and Master of Flémalle Groups, Nederlands Kunsthistorisch Jaarboek, 41 (1990). pp. 13–16, 41, 48–49, 71, 81, 97–116, 125, 127, fig. 4, 6, 89–105.
Châtelet, Albert. "Révolution et art et révolution dans l'art: l'exemple du XVe siècle." In L'art et les révolutions. International Congress of the History of Art 27. Strasbourg: Société alsacienne pour le développement de l'histoire de l'art, 1990. pp. 152–56, 160, 162.
Colalucci, Francesco. "Muscipula diaboli? Una pseudo-trappola per topi nell'Adorazione di Lorenzo Lotto a Washington." Artibus et Historiae 11, no. 21 (1990). pp. 73–75, fig. 3–5.
De Coo, Jozef. "Robert Campin: Vernachlässigte Aspekte zu seinem Werk." Pantheon 48 (1990). pp. 40–41, fig. 6.
Dijkstra, Jeltje. "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. 162–85, 272–73, 293–94, fig. 16, ill. infrared detail.
Harbison, Craig. "The Northern Altarpiece as a Cultural Document." In The Altarpiece in the Renaissance, edited by Peter Humfrey, and Martin Kemp. Cambridge: Cambridge University Press, 1990. pp. 66–67.
Thürlemann, Felix. "Der Blick hinaus auf die Welt: Zum Raumkonzept des Mérode-Triptychons von Robert Campin." In Espaces du texte—Spazi testuali—Texträume: Recueil d'hommages pour Jacques Geninasca, edited by Peter Frölicher, Georges Güntert, and Felix Thürlemann. Neuchâtel, Switzerland: À la Baconnière, 1990. pp. 383–397, fig. 21–22, 24–25.
Upton, Joel M. Petrus Christus: His Place in Fifteenth-Century Flemish Painting. University Park, Pa.: Pennsylvania State University Press, 1990. p. 25 n. 8, pp. 38, 53 n. 8, pp. 78, 86, 90 n. 3, fig. 70.
Cardon, Bert. "Rogier van der Weyden and the Master of Amiens 200 Concerning the Relationship between Panelpainting and Bookillustration [sic]." In Le dessin sous-jacent dans la peinture, edited by Hélène Verougstraete-Marcq, and Roger van Schoute. Colloque, Vol. 8. Louvain-la-Neuve: Collège Érasme, 1991. p. 44.
Châtelet, Albert. "Peinture et enluminure au XVe siècle." In Masters and Miniatures: Proceedings of the Congress on Medieval Manuscript Illumination in the Northern Netherlands, edited by Koert van der Horst, and Johann-Christian Klamt. Studies and Facsimiles of Netherlandish Illuminated Manuscripts, Vol. 3. Doornspijk, The Netherlands: Davaco, 1991. p. 371.
De Coo, Jozef. "Robert Campin, weitere vernachlässigte Aspekte." Wiener Jahrbuch für Kunstgeschichte 44 (1991). pp. 90–100, fig. 15, 18.
Falkenburg, Reindert L. "Het huishouden van de ziel: Burgerlijk decor in het Mérode-altaarstuk." In Op belofte van profijt: Stadsliteratuur en burgermoraal in de Nederlandse letterkunde van de middeleeuwen, edited by Herman Pleij. Amsterdam: Prometheus, 1991. pp. 244–61.
Pächt, Otto. Rembrandt. Munich: Prestel, 1991. p. 81, fig. 46.
Arasse, Daniel. Le détail: Pour une histoire rapprochée de la peinture. Paris: Flammarion, 1992. pp. 259–61.
Blum, Shirley Neilsen. "Hans Memling's 'Annunciation' with Angelic Attendants." Metropolitan Museum Journal 27 (1992). pp. 46–50, fig. 5.
Bauman, Guy C., and Walter A. Liedtke. Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp: Fonds Mercator, 1992. no. 1, pp. 30–33.
Botvinick, Matthew. "The Painting as Pilgrimage: Traces of a Subtext in the Work of Campin and His Contemporaries." Art History 15 (March 1992). pp. 2, 6–18, fig. 2, 4.
Brown, Sarah. Stained Glass: An Illustrated History. London: Bracken Books, 1992. p. 76, ill. p. 94.
Grössinger, Christa. North-European Panel Paintings: A Catalogue of Netherlandish & German Paintings Before 1600 in English Churches & Colleges. London: Harvey Miller Publishers, 1992. pp. 207, 260.
Installé, Henri. "Le triptyque Merode: evocation mnémonique d'une famille de marchands colonais, réfugiée à Malines." Handelingen van de Koninklijke Kring voor Oudheidkunde, Letteren en Kunst van Mechelen (1992). pp. 55–154, fig. 1–3, 10–11, 15, 18, 31 (overall and details).
Ratliff, Floyd. Paul Signac and Color in Neo-Impressionism. New York: Rockefeller University Press, 1992. pp. 94–95, 294, fig. 46.
Scholz, Hartmut. "Tradition und Avantgarde die Farbverglasung der Besserer-Kapelle als Arbeit einer Ulmer 'Werkstatt-Kooperative'." In Deutsche Glasmalerei des Mittelalters, edited by Rüdiger Becksmann. Vol. 2. Berlin: Deutscher Verlag für Kunstwissenschaft, 1992. pp. 107–8, fig. 7.
Thürlemann, Felix. "Das Lukas-Triptychon in Stolzenhain." Zeitschrift für Kunstgeschichte 55, no. 4 (1992). pp. 528–29, fig. 3.
Baker, Christopher. "Symposium Report: Robert Campin." Apollo 138 (July 1993). p. 53.
Burn, Barbara, ed. Masterpieces of the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1993. pp. 57, 74–75.
Châtelet, Albert. "L'atelier de Robert Campin." Art et histoire 7 (1993). pp. 19, 25, 27, 29.
Holly, Michael Ann. "Witnessing an Annunciation." In Künstlerischer Austausch/Artistic Exchange. International Congress of the History of Art 28, Vol. 2. Berlin, 1993. pp. 714–18, 721, fig. 2–5.
Sander, Jochen. Niederländische Gemälde im Städel, 1400–1550. Mainz: Philipp von Zabern, 1993. pp. 116, 120–21, fig. 48.
Seidel, Linda. Jan van Eyck's Arnolfini Portrait: Stories of an Icon. Cambridge: Cambridge University Press, 1993. pp. 85, 88–89, 228 n. 5, p. 230 n. 19, p. 245 n. 24, fig. 28, 41, 43.
Thürlemann, Felix. "Review: J. R. J. van Asperen de Boer . . . Underdrawing in Paintings of the Rogier van der Weyden and Master of Flémalle Groups, Nederlands Kunsthistorisch jaarboek, vol. 41, 1990." Kunstchronik 46, no. 12 (December 1993). pp. 723–25, 731, fig. 2a, 2b, 3a.
Täube, Dagmar Regina. "Zwischen Tradition und Fortschritt: Stefan Lochner und die Niederlande." In Stefan Lochner, Meister zu Köln, edited by Frank Günter Zehnder. Cologne: Wallraf-Richartz-Museum, 1993. pp. 55, 62, fig. 2.
Belting, Hans, and Christiane Kruse. Die Erfindung des Gemäldes: Das erste Jahrhundert der niederländischen Malerei. Munich: Hirmer, 1994. pp. 79–83, 166–67, 176, fig. 41, pl. 70–71.
Hall, Edwin. The Arnolfini Betrothal: Medieval Marriage and the Enigma of van Eyck's Double Portrait. Berkeley: University of California Press, 1994. pp. xvii–xviii, xix–xx, 96, 99, 109, 114, 116, fig. 47.
Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. 2nd ed. New York: The Metropolitan Museum of Art, 1994. no. 28, pp. 404–05.
Pächt, Otto. Van Eyck and the Founders of Early Netherlandish Painting, edited by Maria Schmidt-Dengler. London: Harvey Miller Publishers, 1994. pp. 9, 50–51, 54–56, 58–65, 88, 105, 165, 174, 188, fig. 37, pl. 3.
Pérez-Higuera, Teresa. Puer natus est nobis: La iconografia de la Navidad en el arte medieval. Bilbao: Banco Bilbao Vizcaya, 1994. ill. p. 56.
Steyaert, John W. Late Gothic Sculpture: The Burgundian Netherlands. Ghent: Ludion Press, 1994. pp. 54, 298, fig. 15.
Ainsworth, Maryan W. "Afterthoughts and Challenges to Modern-Day Connoisseurship." In Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach, edited by Maryan W. Ainsworth. New York: The Metropolitan Museum of Art, 1995. p. 207.
Baetjer, Katharine. European Paintings in The Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue. New York: The Metropolitan Museum of Art, 1995. p. 242.
Harbison, Craig. "Fact, Symbol, Ideal: Roles for Realism in Early Netherlandish Painting." In Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach, edited by Maryan W. Ainsworth. New York: The Metropolitan Museum of Art, 1995. p. 23.
Sander, Jochen. Die Entdeckung der Kunst: Niederländische Kunst des 15. und 16. Jahrhunderts in Frankfurt. Mainz: Städelsches Kunstinstitut, 1995. pp. 183, 185, fig. 178.
Arndt, Karl. "Konstellationen: Bode, Tschudi, Friedländer, Winkler. Die altniederländische Malerei in den Berliner Sammlungen." Jahrbuch der Berliner Museen 38 (1996). p. 63.
Bomford, David, Lorne Campbell, Ashok Roy, and Raymond White. "The 'Virgin and Child Before a Firescreen': History, Examination and Treatment." In Robert Campin: New Directions in Scholarship, edited by Susan Foister, and Susie Nash. Turnhout, Belgium: Brepols, 1996. pp. 38–39, 45.
Chorpenning, Joseph F. "Icon of Family and Religious Life: The Historical Development of the Holy Family Devotion." In The Holy Family as Prototype of the Civilization of Love: Images from the Viceregal Americas, edited by Joseph F. Chorpenning. Philadelphia: Saint Joseph's University, 1996. pp. 30, 39 n. 213.
Châtelet, Albert. Robert Campin, Le Maître de Flémalle: La fascination du quotidien. Antwerp: Fonds Mercator, 1996. no. 6, pp. 8, 12–13, 93–113, 115, 117–18, 127, 144–46, 157, 159, 189, 208, 228, 232, 236–37, 242, 246–47, 250–51, 276, 287, 291–96, 302, 306, 318.
Dijkstra, Jeltje. "The Brussels and the Merode 'Annunciation' Reconsidered." In Robert Campin: New Directions in Scholarship, edited by Susan Foister, and Susie Nash. Turnhout, Belgium: Brepols, 1996. pp. 95–104, fig. 1, 6–7.
Reynolds, Catherine. "Reality and Image: Interpreting Three Paintings of the 'Virgin and Child in an Interior' Associated with Campin." In Robert Campin: New Directions in Scholarship, edited by Susan Foister, and Susie Nash. Turnhout, Belgium: Brepols, 1996. p. 183.
Reynolds, Catherine. "Master of Mérode." In The Dictionary of Art, edited by Jane Turner. Vol. 20. New York: Grove, 1996. pp. 669–70, 730.
Salomon, Nanette. "Domesticating the Peasant Father: The Confluent Ideologies of Gender, Class, and Age in the Prints of Adriaen van Ostade." In Images of Women in Seventeenth-Century Dutch Art: Domesticity and the Representation of the Peasant, edited by Patricia Phagan. Athens, Ga.: Georgia Museum of Art, University of Georgia, 1996. p. 50, fig. 8.
Stroo, Cyriel, and Pascale Syfer-d'Olne. The Flemish Primitives: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium; Volume 1, The Master of Flémalle and Rogier van der Weyden Groups, edited by Elizabeth Moodey, and Stanton Thomas. Brussels: Brepols, 1996. pp. 34, 42–44, 46–47, fig. 11.
Bé, Kenneth. "Geological Aspects of Jan van Eyck's 'Saint Francis Receiving the Stigmata'." In Jan van Eyck: Two Paintings of "Saint Francis Receiving the Stigmata". Philadelphia: Philadelphia Museum of Art, 1997. pp. 92, 94, fig. 117.
Dijkstra, Jeltje. "Book Reviews: Musées Royaux des Beaux-Arts de Belgique. The Flemish Primitives I: The Master of Flémalle and Rogier van der Weyden Groups.." Burlington Magazine 139, no. 1135 (October 1997). p. 696.
Kemperdick, Stephan. Der Meister von Flémalle: Die Werkstatt Robert Campins und Rogier van der Weyden. Turnhout, Belgium: Brepols, 1997. pp. 5, 9–10, 56, 60–61, 63–64, 69, 72, 77–104, 131, 134, 136, 149–50, 155, 159–60, 164, 172 n. 133, pp. 181–86, ill. pp. 283, 285–87.
Meijer, Bert W., ed. La pittura nei Paesi Bassi. Vol. 1. Milan: Electa, 1997. pp. 74, 78, fig. 57, 59.
Pächt, Otto. Early Netherlandish Painting from Rogier van der Weyden to Gerard David, edited by Monika Rosenauer. London: Harvey Miller Publishers, 1997. pp. 13–14.
Thürlemann, Felix. Robert Campin, das Mérode-triptychon: Ein Hochzeitsbild für Peter Engelbrecht und Gretchen Schrinmechers aus Köln. Frankfurt: Fischer Taschenbuch, 1997. pp. 5–94.
Acres, Alfred. "The Columba Altarpiece and the Time of the World." The Art Bulletin 80, no. 3 (September 1998). pp. 444–45, fig. 22.
Ainsworth, Maryan, and Keith Christiansen, ed. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1998. no. 2, pp. 81, 89–96.
Campbell, Lorne. The Fifteenth Century Netherlandish Schools. National Gallery Catalogues. London: National Gallery Publications, 1998. p. 98.
Chapuis, Julien. "Early Netherlandish Painting: Shifting Perspectives." In From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, edited by Maryan Ainsworth, and Keith Christiansen. New York: The Metropolitan Museum of Art, 1998. pp. 10–12, fig. 6, (as cat. no. 2).
Dijkstra, Jeltje. "Boekbespreking: Stephan Kemperdick, Der Meister von Flémalle. Die Werkstatt Robert Campins und Rogier van der Weyden, 1997." Oud-Holland 112, no. 2/3 (1998). pp. 182–83 n. 4.
Drummond, David. "The Mérode Mouse Trap and the Missing Clicket." Tools & Trades 10 (1998). pp. 37–40, fig. 1a, pl. 1.
Evans, Mark L. "Der Meister von Flémalle: Die Werkstatt Robert Campins und Rogier van der Weyden. By Stephan Kemperdinck [sic], 1997." Burlington Magazine 140, no. 1147 (October 1998). p. 686.
Hand, John Oliver. "New York. From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art." Burlington Magazine 140, no. 1149 (December 1998). pp. 854–55.
Sterling, Charles, Maryan W. Ainsworth, Charles Talbot, Martha Wolff, Egbert Haverkamp-Begemann, Jonathan Brown, and John Hayes. The Robert Lehman Collection: Volume 2, Fifteenth- to Eighteenth-Century European Paintings. New York: The Metropolitan Museum of Art, 1998. p. 23.
Mund, Hélène. "La copie chez les Primitifs flamands et Dirk Bouts." In Dirk Bouts (ca. 1410–1475): Een Vlaams primitief te Leuven, edited by Maurits Smeyers. Louvain: Sint-Pieterskerk, 1998. p. 237.
Reuterswärd, Patrik. "New Light on Robert Campin." Konsthistorisk tidskrift 67, no. 1 (1998). pp. 46–52, 54 n. 5, fig. 4–6.
Châtelet, Albert. Rogier van der Weyden: Problèmes de la vie et de l'oeuvre. Strasbourg: Presses Universitaires de Strasbourg, 1999. pp. 94, 97.
De Vos, Dirk. Rogier van der Weyden: The Complete Works. New York: Harry N. Abrams, 1999. pp. 65–66, 78–79, 82–83 nn. 21–22, pp. 95, 98, 149, 174, 195, 198, 206 n. 5, pp. 207–8 n. 7, ill. in color (details) and infrared details.
Peters, Edward, and Walter P. Simons. "The New Huizinga and the Old Middle Ages." Speculum 74, no. 3 (July 1999). p. 616.
Wilmering, Antoine M. The Gubbio Studiolo and Its Conservation: Volume 2, Italian Renaissance Intarsia and the Conservation of the Gubbio Studiolo. New York: The Metropolitan Museum of Art, 1999. pp. 56–57, fig. 1.64.
Liess, Reinhard. Zum Logos der Kunst Rogier van der Weydens: Die 'Beweinungen Christi' in den Königlichen Museen in Brüssel und in der Nationalgalerie in London. Vol. 1. Münster: Lit Verlag, 2000. pp. 8, 17–19, 36–40, 52, 60, 66–71, 80, 86–88, 96, 99–102, 163, 171, 241, 255, 267–68, 365.
Liess, Reinhard. Zum Logos der Kunst Rogier van der Weydens: Die 'Beweinungen Christi' in den Königlichen Museen in Brüssel und in der Nationalgalerie in London. Vol. 2. Münster: Lit Verlag, 2000. pp. 381–82, 388, 423–30, 488, 513–601, 608–16, 620, 633, 649–53, 659–67, 670–71, 675–81, 704–6, 732–36, 748–50, 766, 792–98, 820, 831.
Salomon, Nanette. "Early Netherlandish Bordeeltjes and the Construction of Social 'Realities'." In The Public and Private in Dutch Culture of the Golden Age, edited by Arthur K. Wheelock Jr., and Adele Seeff. Newark, Del.: University of Delaware Press, 2000. pp. 150, 161 n. 41, fig. 8.
Falkenburg, Reindert L. "The Household of the Soul: Conformity in the 'Merode Triptych'." In Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies, edited by Maryan W. Ainsworth. New York: The Metropolitan Museum of Art, 2001. pp. 1–18, pls. 1–4.
Faries, Molly. "Reshaping the Field: The Contribution of Technical Studies." In Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies, edited by Maryan W. Ainsworth. New York: The Metropolitan Museum of Art, 2001. p. 101.
Lorentz, Philippe, and Micheline Comblen-Sonkes. Musée du Louvre, Paris. III. Corpus de la peinture des anciens Pays-Bas méridionaux et de la principauté de Liège au quinzième siècle, Vol. 19. Brussels: Centre National de Recherches "Primitifs flamands", 2001. pp. 24, 26, 29–30, 33–34, 36.
Parshall, Peter. "Commentary: Conformity or Contrast?." In Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies, edited by Maryan W. Ainsworth. New York: The Metropolitan Museum of Art, 2001. pp. 20–21, 24–25.
Wilson, Carolyn C. St. Joseph in Italian Renaissance Society and Art. Philadelphia: Saint Joseph's University Press, 2001. pp. 46, 60, 62–63, 77, 186 n. 91, p. 207 n. 77, p. 226 n. 202, pl. 49.
Zeman, Georg. "Rezensionen: Stephan Kemperdick. Der Meister von Flémalle. Die Werkstatt Robert Campins und Rogier van der Weyden, 1997." Kunstchronik no. 5 (May 2001). pp. 214–17.
Belozerskaya, Marina. Rethinking the Renaissance: Burgundian Arts Across Europe. Cambridge: Cambridge University Press, 2002. p. 227, fig. 52.
Borchert, Till-Holger. The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting 1430–1530. Ghent: Groeninge Museum, 2002. pp. 12, 249.
De Vos, Dirk. The Flemish Primitives: The Masterpieces. Antwerp: Mercatorfonds, 2002. pp. 27–34.
Hollander, Martha. An Entrance for the Eyes: Space and Meaning in Seventeenth-Century Dutch Art. Berkeley: University of California Press, 2002. pp. 159, 161–62, 185, 223 n. 13, fig. 72.
Thürlemann, Felix. Robert Campin: A Monographic Study with Critical Catalogue. Munich: Prestel, 2002. no. I.12, pp. 58, 63, 65–76, 188, 219 nn. 71, 77–81, p. 220 nn. 82, 88, 90, 93–96, 98, 100, p. 221 nn. 110–13, pp. 269–72, 305–6, fig. 42–44, 46, 52.
Zeman, Georg. Early Netherlandish Drawings from Jan van Eyck to Hieronymus Bosch, edited by Fritz Koreny. Antwerp: Rubenshuis, 2002. p. 67.
Koster, Margaret. "New Documentation for the Portinari Altar-piece." Burlington Magazine 145, no. 1200 (March 2003). pp. 172, 175.
Reinhard-Felice, Mariantonia, ed. Sammlung Oskar Reinhart 'Am Römerholz,' Winterthur: Gesamtkatalog. Basel: Schwabe & Co., 2003. p. 108.
Nuttall, Paula. From Flanders to Florence: The Impact of Netherlandish Painting, 1400–1500. New Haven: Yale University Press, 2004. p. 267 nn. 16, 19.
Williamson, Beth. "Altarpieces, Liturgy, and Devotion." Speculum 79, no. 2 (April 2004). p. 389.
Ainsworth, Maryan W. "Intentional Alterations of Early Netherlandish Paintings." Metropolitan Museum Journal 40 (2005). pp. 56, 58, fig. 11.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. New York and New Haven: The Metropolitan Museum of Art, 2005. no. 89, pp. 125–26, 197.
Borchert, Till-Holger. "Collecting Early Netherlandish Paintings in Europe and the United States." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. p. 216.
Dijkstra, Jeltje. "Technical Examination." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. p. 327.
Harbison, Craig. "Iconography and Iconology." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. pp. 392–94, 396, 398–99, 402.
Ketelsen, Thomas, and Uta Neidhardt, ed. Das Geheimnis des Jan van Eyck: Die frühen niederländischen Zeichnungen und Gemälde in Dresden. Munich: Residenzschloss Dresden, 2005. pp. 136, 173 n. 2.
Krul, Wessel. "Realism, Renaissance and Nationalism." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. pp. 289, 428 n. 92.
Martens, Maximiliaan P. J. "Patronage." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. p. 364.
Ridderbos, Bernhard. "Objects and Questions." In Early Netherlandish Paintings: Rediscovery, Reception and Research, edited by Bernhard Ridderbos, Anne H. van Buren, and Henk van Veen. English ed. Amsterdam: Amsterdam University Press, 2005. pp. 13, 16–23, 83, 409 nn. 31, 33, p. 410 nn. 46–48, fig. 7, 9, ill. on back cover.
Norris, Michael. Medieval Art: A Resource for Educators. New York: The Metropolitan Museum of Art, 2005. no. 32, pp. 126–29.
Falkenburg, Reindert L. "Hans Memling's Van Nieuwenhove Diptych: The Place of Prayer in Early Netherlandish Devotional Painting." In Essays in Context: Unfolding the Netherlandish Diptych, edited by John Oliver Hand, and Ron Spronk. Cambridge, Mass.: Harvard University Art Museums, 2006. pp. 101–2, [published in conjunction with the 2006 exh. cat., "Prayers and Portraits: Unfolding the Netherlandish Diptych"].
Rosenberg, Pierre. Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Milan: Skira, 2006. pp. 26–27, 228–29.
Châtelet, Albert. "Robert Campin et le Hainaut." In Campin in Context: Peinture et société dans la vallée de l'Escaut à l'époque de Robert Campin, 1375–1445. Tournai: Maison de la Culture, 2007. p. 187.
Ekserdjian, David. Alle origini della natura morta. Milan: Electa, 2007. pp. 148–51.
Kemperdick, Stephan. "The Flémalle—Campin—Van der Weyden Problem: Still Existing." In Campin in Context: Peinture et société dans la vallée de l'Escaut à l'époque de Robert Campin, 1375–1445. Tournai: Maison de la Culture, 2007. pp. 3–4, 7.
Rohlmann, Michael. "The Annunciation by Joos Ammann in Genoa: Context, Function and Metapictorial Quality." In Cultural Exchange Between the Low Countries and Italy (1400–1600), edited by Ingrid Alexander-Skipnes. Turnhout, Belgium: Brepols, 2007. p. 40 n. 57.
Vanwijnsberghe, Dominique. "Robert Campin and Tournaisian Manuscript Painting." In Campin in Context: Peinture et société dans la vallée de l'Escaut à l'époque de Robert Campin, 1375–1445. Tournai: Maison de la Culture, 2007. pp. 132, 136.
Laemers, Suzanne. "'A Matter of Character': Max J. Friedländer et ses relations avec Émile Renders et Jef van der Veken." In Autour de la "Madeleine Renders": Un aspect de l'histoire des collections, de la restauration et de la contrefaçon en Belgique dans la première moitié du XXe siècle, edited by Dominique Vanwijnsberghe. Brussels: Koninklijk Instituut voor het Kunstpatrimonium, 2008. pp. 166–67 n. 68, pp. 170, 175.
LeZotte, Annette. The Home Setting in Early Netherlandish Paintings: A Statistical and Iconographical Analysis of Fifteenth- and Early Sixteenth-Century Domestic Imagery. Lewiston, N.Y.: Edwin Mellen Press, 2008. pp. 20, 26–32, 38, 44, 72–75, 109–12, 133–37.
Liedtke, Walter A. Vermeer: The Complete Paintings. Antwerp: Ludion Press, 2008. p. 165.
Musacchio, Jacqueline Marie. Art, Marriage, & Family in the Florentine Renaissance Palace. New Haven: Yale University Press, 2008. p. 228, fig. 233.
Bonaventura, Paul. "Transcendental Reality." Apollo 169 (March 2009). p. 136, fig. 1.
Eclercy, Bastian. "On Mousetraps and Firescreens: The Problem of 'Disguised Symbolism' in Early Netherlandish Painting." In The Master of Flémalle and Rogier van der Weyden, edited by Stephan Kemperdick, and Jochen Sander. Frankfurt: Städel Museum, 2009. pp. 133–35, 138–42, 144–45, 173 n. 25, p. 174 nn. 43–44, fig. 94, 97.
Frinta, Mojmír. "Observation on Michel Sittow." Artibus et Historiae 30, no. 60 (2009). p. 155 n. 18.
Kemperdick, Stephan. "I tableau à hysseoires – A Panel with Two Wings: Altarpieces with and without Foldable Wings at the Time of Rogier van der Weyden." In The Master of Flémalle and Rogier van der Weyden, edited by Stephan Kemperdick, and Jochen Sander. Frankfurt: Städel Museum, 2009. pp. 118, 126–27.
Kemperdick, Stephan, and Jochen Sander. "The Master of Flémalle, Robert Campin, and Rogier van der Weyden: A Résumé." In The Master of Flémalle and Rogier van der Weyden, edited by Stephan Kemperdick, and Jochen Sander. English ed. Frankfurt: Städel Museum, 2009. pp. 150–52.
Kemperdick, Stephan, and Jochen Sander, ed. The Master of Flémalle and Rogier van der Weyden. Frankfurt: Städel Museum, 2009. no. 4, pp. 139, 171–72 nn. 53 and 91, pp. 188, 192–201, 205, 229, 232–33, 236-37, 289-90, 326, fig. 97, 113, 115-116, 118.
Klein, Peter. "Dendrochronological Analysis of Panel Paintings Belonging to the Master of Flémalle and Rogier van der Weyden Groups." In The Master of Flémalle and Rogier van der Weyden, edited by Stephan Kemperdick, and Jochen Sander. Frankfurt: Städel Museum, 2009. p. 162.
Köllermann, Antje-Fee. "Netherlandish Painting before the Master of Flémalle and Rogier van der Weyden." In The Master of Flémalle and Rogier van der Weyden, edited by Stephan Kemperdick, and Jochen Sander. Frankfurt: Städel Museum, 2009. p. 46.
Lane, Barbara G. Hans Memling: Master Painter in Fifteenth-Century Bruges. London: Harvey Miller Publishers, 2009. pp. 138, 145 n. 70.
Sander, Jochen. "Reconstructing Artists and Their Oeuvres." In The Master of Flémalle and Rogier van der Weyden, edited by Stephan Kemperdick, and Jochen Sander. Frankfurt: Städel Museum, 2009. pp. 83–84, 90–93, fig. 56.
Thürlemann, Felix. "Schüler von Robert Campin sein." In Emil Bosshard, Paintings Conservator (1945–2006): Essays by Friends and Colleagues, edited by Maria de Peverelli, and Marco Grassi. Florence: Centro Di, 2009. pp. 238, 247–54 n. 18, fig. 6–7.
Borchert, Till-Holger, ed. Van Eyck to Dürer: Early Netherlandish Painting and Central Europe, 1430–1530. Tielt, Belgium: Groeninge Museum, 2010. pp. 167, 175, 471, fig. a.
Kotková, Olga. "Bohemia." In Van Eyck to Dürer: Early Netherlandish Painting and Central Europe, 1430–1530, edited by Till-Holger Borchert. Tielt, Belgium: Groeninge Museum, 2010. p. 467.
Moraht-Fromm, Anna. "Swabia and the Upper Rhine." In Van Eyck to Dürer: Early Netherlandish Painting and Central Europe, 1430–1530, edited by Till-Holger Borchert. Tielt, Belgium: Groeninge Museum, 2010. p. 278.
Gertsman, Elina. "The Pilgrim's Progress: Devotional Journey Through the Holy Womb." In Push Me, Pull You: Physical and Spatial Interaction in Late Medieval and Early Renaissance Art, edited by Sarah Blick, and Laura D. Gelfand. Studies in Medieval and Reformation Traditions 156, Vol. 2. Leiden: Brill, 2011. p. 235, fig. 8.2.
Silver, Larry. Pieter Bruegel. New York: Abbeville Press, 2011. p. 276, pl. 233.
Barnet, Peter, and Nancy Y. Wu. The Cloisters: Medieval Art and Architecture. 75th Anniversary ed. New York and New Haven: The Metropolitan Museum of Art, 2012. pp. 130–31.
The Metropolitan Museum of Art. The Metropolitan Museum of Art Guide. New Haven, CT: Yale University Press, 2012. p. 213.
Mende, Ursula. Die mittelalterlichen Bronzen im Germanischen Nationalmuseum: Bestandskatalog. Nuremberg: Germanisches Nationalmuseum, 2013. p. 265 (p. 264 n. 1).
Kulesza, Piotr. Plants in 15th-century Netherlandish Painting: a Botanical Analysis of Selected Paintings. Lublin: Wydawnictwo KUL, 2014. pp. 25–35, fig. 1.
Gertsman, Elina. Worlds Within: Opening the Medieval Shrine Madonna. University Park: Pennsylvania State University Press, 2015. pp. 167–68, fig. 128.
Dandridge, Pete, and Lisa Ellis. "Making." In Small Wonders: Gothic Boxwood Miniatures, edited by Lisa Ellis, and Alexandra Suda. Toronto: Art Gallery of Ontario, 2016. ill. p. 25.
Dandridge, Pete, and Lisa Ellis. "Workshop Practices." In Small Wonders: Late-Gothic Boxwood Micro-Carvings from the Low Countries, edited by Frits Scholten. Amsterdam: Rijksmuseum, 2016. pp. 514–15, 572, fig. 222.
Falkenburg, Reindert. "Prayer Nuts Seen Through the 'Eyes of the Heart'." In Small Wonders: Late-Gothic Boxwood Micro-Carvings from the Low Countries, edited by Frits Scholten. Amsterdam: Rijksmuseum, 2016. pp. 124–27, 129, fig. 72.
Fliegel, Stephen, and Elina Gertsman, ed. Myth and Mystique: Cleveland's Gothic Table Fountain. Cleveland Masterwork Series, Vol. 3. Cleveland: Cleveland Museum of Art, 2016. pp. 141–42, fig. 89.
Stein, Wendy A. How to Read Medieval Art. New York: The Metropolitan Museum of Art, 2016. no. 29, pp. 13, 15, 106–9, ill. cover.
Syson, Luke. "Italian Maiolica Painting: Composing for Context." In Maiolica: Italian Renaissance Ceramics in the Metropolitan Museum of Art, edited by Timothy Wilson. Highlights of the Collection. New York: The Metropolitan Museum of Art, 2016. p. 14.
Wilson, Timothy. Maiolica: Italian Renaissance Ceramics in the Metropolitan Museum of Art. Highlights of the Collection. New York: The Metropolitan Museum of Art, 2016. p. 80, fig. 51.
Bolton, Andrew, ed. Heavenly Bodies: Fashion and the Catholic Imagination. Vol. 2. New York: The Metropolitan Museum of Art, 2018. pp. 274, 280.
The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met’s Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.
Publishing and Marketing Assistant Rachel High sits down with How to Read Medieval Art author Wendy Stein to learn some of the meaning behind art of the Middle Ages and uncover the value of looking closely.
The Monuments Men were a group of men and women who risked their lives to preserve Europe's cultural treasures during World War II. Archivists Melissa Bowling and James Moske tell their story using a wealth of material in the Metropolitan's archives.
Eighty-five years ago today, on June 12, 1925, The Metropolitan Museum of Art purchased a collection of medieval sculpture and architectural fragments from George Grey Barnard (1863–1938), a prominent American sculptor and collector. This acquisition formed the nucleus of what would become The Cloisters, the branch of the Museum located in Northern Manhattan and devoted to the art and architecture of medieval Europe.
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Museum's collection of medieval and Byzantine art is among the most comprehensive in the world, encompassing the art of the Mediterranean and Europe from the fall of Rome to the beginning of the Renaissance.
