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Shown from the hips up in a room on the far side of a ledge, a young woman props up a naked baby so he stands on a cushion in this vertical painting. The woman’s left hand, to our right, supports the baby’s neck, and her other hand holds him upright. Both have pale skin tinged with pink and shaded with cool gray, and they face us at the center of the composition. The woman wears a royal-blue hooded garment that comes low over her forehead. Light blond curls catch the light under her hood, near her left cheek, to our right. She looks into the distance, as if over our right shoulder, with unfocused, pale brown eyes. She has a straight yet soft nose, flushed cheeks, closed pink lips, and a slight double chin. The nude baby has blond hair and blue eyes. His torso and limbs have the rolls and dimples of a toddler, and the woman’s hands press gently into the flesh. One of his elbows hooks up over the woman’s shoulder, next to his head. He points at the woman with his middle finger near her high neckline. The other arm, to our right, hangs by his side and he holds a piece of green and red fruit, possibly an apple. The child stands on one foot on the green cushion, which has red tassels. The pine-green pillow has sea glass-green highlights, suggesting a sheen or texture. His other foot rests against that standing calf, toes splayed. The wall behind the pair is marbled with green or red against tan, and a bright, scarlet-red cloth hangs behind the woman. A window on the back wall opens onto a landscape to our left. There, a plain of green grass is interrupted by a winding pathway, which leads to a walled fortification and gate. Beyond the gate are trees and mountains, hazy green and blue in the deep distance. Thick white clouds drift across the bright blue sky above. A sliver of a window in the upper right corner next to the baby has round, bull’s eye glass. In the lower corners of the painting are two heraldic coats of arms. The shield-shaped symbol to our left is of a knight’s helmet with red and white scrolls and vines. In the lower right corner a miniature man kneels behind a shield and holds a long cylindrical object.

Albrecht Dürer

Madonna and Child [obverse], c. 1496/1499

Not on View

Medium

oil on panel

Dimensions

overall: 52.4 x 42.2 cm (20 5/8 x 16 5/8 in.)

framed: 66.2 x 55.5 x 7.6 cm (26 1/16 x 21 7/8 x 3 in.)

Credit Line

Samuel H. Kress Collection

Accession Number

1952.2.16.a

Artists / Makers

Albrecht Dürer (artist) German, 1471 - 1528

Image Use

This image is in the public domain.
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Overview

Dürer was born in Nuremberg and received a typical medieval training from his goldsmith father and from the Nuremberg painter Michael Wolgemut. Yet he was one of the major transmitters of the ideas of the Italian Renaissance to artists in the North. This was the result of direct experience acquired on two trips to Italy, as well as of his own diligent study of ideal figural proportions and perspective.

Dürer traveled to Venice in 1494/1495 and 1505/1507. While there, he became well acquainted with Giovanni Bellini, whose influence is evident in the Madonna and Child. The athletic Christ Child, the stable pyramid of the Virgin's form, the strong, and almost sculptural modeling of the figures, and the contrast of clear blue and red setting off Mary's shape all recall Bellini's treatment of the same subject.

On the other hand, Mary's placement in the corner of a room with a window open on a distant view indicates Dürer's familiarity with Netherlandish devotional images. The minute treatment of the Alpine landscape and the careful delineation of all textures and surfaces equally remind one of Dürer's persistent fascination with the North's tradition of visual exactitude.

The Madonna and Child probably was intended for private devotion. The diminutive coat–of–arms in the lower corners have been identified as those of the Hallery family (left) and Koberger (right), both prominent in Nuremberg. Further, it has been suggested that the painting was commissioned by Wolf III Haller who married Ursula Koberger in 1491.

More information on this painting can be found in the Gallery publication German Paintings of the Fifteenth through Seventeenth Centuries, which is available as a free PDF https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/german-painting-fifteenth-through-seventeenth-centuries.pdf

Inscription

lower left coat-of-arms: (Gules, a chapé emanating from the dexter flank argent, charged with a dexter gyron sable); crest: (out of a wreath of the liveries the torso of an armless Moorish woman proper, habited gules, crined and braided sable, earringed Or, wearing a "flying head band" (fliegende Binde) twisted gules and argent); mantling: (gules, lined argent); lower right coat-of-arms: (rendered heraldically indescribable by later additions)

Provenance

Probably a member of the Haller family, Nuremberg.[1] Possibly Paul von Praun [d. 1616] and descendants, Nuremberg, until at least 1778.[2] Charles à Court Repington [d. 1925], Amington Hall, Warwickshire; sold to Mrs. Phyllis Loder, London.[3] (sale, Christie's, London, 29 April 1932, no. 51, as Bellini); (Vaz Dias.)[4] Baron Heinrich Thyssen-Bornemisza [1875-1947], Villa Favorita, Lugano-Castagnola, by 1934. (Pinakos, Inc. [Rudolf Heinemann], New York); on consignment 1950 to (M. Knoedler & Co., New York); purchased 23 October 1950 by the Samuel H. Kress Foundation, New York;[5] gift 1952 by exchange to NGA.

[1] From the coat-of-arms at the lower left, there would seem to be little doubt that the Gallery's panel was first owned and probably executed for a member of the Haller family of Nuremberg; see Otto Titan von Hefner and Gustav Adelbert Seyler, die Wappen des bayerischen Adels. J. Siebmacher's grosses Wappenbuch. 34 vols. (Neustadt an der Aisch, 1971) 22: 38, pl. 36, and additional information in NGA manuscript for systematic catalogue number 5 on German painting, entry on Madonna and Child by Dürer. The Hallers were one of Nuremberg's largest and most influential patrician families, but our inability to identify the coat-of-arms at the lower right renders it all but impossible to find a candidate. The direction of the Haller arms is reversed so that it may "respect" the arms of what is presumed to be the wife's family at the lower right; see Gustav A. Seyler, "die Orientirung der Wappen", Geschichte der Heraldik. J. Siebmacher's grosses Wappenbuch. vols. A-G (Neustadt an der Aisch, 1970) A: 454-487, and letter of 16 April 1988 from Walter Angst to John Hand in NGA curatorial file. Anzelewsky raised the possibility that the panel was painted for Wilhelm Haller (d. 1534) whose second marriage to Dorothea Landauer took place in 1497; see Fedja Anzelewsky, Albrecht Dürer Das malerische Werk. (Berlin, 1971), 142. On the other hand, Sally E. Mansfield suggested, in a report in the NGA curatorial file, Hieronymus II Haller (d. 1519) who married Catharina Wolf von Wolfstal in 1419.

[2] Christophe Gottlieb von Murr, Beschreibung der vornehmsten Merkwürdigkeiten in des H.R. Reichs freyen Stadt Nürnberg und auf der hohen Schule zu Altdorf (Nuremberg, 1778), 476. "Von einem unberkannten sehr alten Meister. N. 239 Lot eilet mit seinen Töchtern aus Sodom. Man siehet unter andern auch ein Marienbild angebracht. Auf Holz." Listed as belonging to the "Praunisches Museum." The suggestion, which remains unverified, that this refers to the Gallery's painting was first made by Erika Tietze, letter of 4 February 1953 to Fern Rusk Shapley, in curatorial files. In Murr's later catalogue of the collection, however, the painting is given to Joachim Patinir. See Christophe Theophile de Murr, Description du Cabinet de Monsieur Paul de Praun a Nuremberg (Nuremberg, 1797), 31, "Joachim Patenier, 239. Lot et ses deux Filles sortans de Sodome. Les figures sont comme decoupées, sans justes ombres. Sur bois. Albret Durer reçut ce petit Tableau en 1521 à Anvers par le Sécretaire de cette Ville... haut 8 p. larg. 8 p." The Dimensions in pouces, approximately 8x8 inches, do not correspond to those of the Gallery's panel, and a verso is not described, suggesting that a different painting had been assigned the same catalogue number. The Praun collection was dispersed in sales of 1797 and 1802; see Th. Hampe, "Kunstfreunde im alten Nürnberg und ihre Sammlungen," Festschrift des Vereins für Geschichte der Stadt Nürnberg zur Feier seines 25 jähr. Bestehens (Nuremberg, 1903), 82-87. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian (Oxford, 1977), 14, listed Willibald Imhoff the Elder [d.1580] of Nuremberg as a possible owner. Although there are several images of the Madonna or of the burning of Sodom and Gomorrah listed in the Imhoff inverntories, they are not, however, conjoined or described in enough detail to permit identification with the Gallery's picture. By the same token, it is not possible to verify the interesting suggestion in Eisler 1977, 16, n. 46, that the Gallery's panel might be the "Marienbild von Albrecht Dürer" belonging to both the Imhoff and Praun collections. See Joseph Heller, Das Leben und die Werke Albrecht Dürer's (Bamberg, 1827) vol. 2, part 1, 78, no. 1 (Imhoff), 230-231, no. y (Praun). There is also some question as to whether the many works listed as by Dürer in the Imhoff collection were autograph or deliberate falsification; see Moriz Thausing, Dürer, Geschichte seines Lebens und seiner Kunst (Leipzig, 1876), 141-144 (Engl. trans. Albert Dürer, His Life and Works. Fred A. Eaton Ed., 2 vols., London 1882, 1: 184-188).

[3] This and the preceding are unverified, but are first cited in Max J. Friedländer, "Eine Unbekannte Dürer-Madonna." Pantheon 14 (1934): 322, who states that Loder purchased the painting from à Court Repington, repeated in Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz. I. Teil. Verzeichnis der Gemälde. (Lugano-Castagnola, 1937), 47, no. 127, and accepted by later authors. For Charles à Court Repington see the article by J.E. Edmonds, The Dictionary of National Biography (Oxford and London), Supplement 1922-1930, 717-718. That he dealt in pictures on occasion is stated in Mary Repington, Thanks for the Memory (London, 1938), 223, 278. No information has come to light concerning Phyllis Loder. There is no justification for the assertation in Denys Sutton, "Robert Langton Douglas. Part IV," Apollo CX, no. 209 (July, 1979): 205, that the picture was once owned by Robert Langton Douglas.

[4] Art prices Current, 11, part A, A154, no. 2445; see also the hand-written annotation in the copy of the sales catalogue in the Frick Art Reference Library, New York, as cited by Eisler 1977, 14. A note in the NGA provenance card file suggests that the panel passed from Vaz Dias to the dealer Bottenwieser in Berlin, but it has not been possible to verify this.

[5] M. Knoedler & Co. Records, accession number 2012.M.54, Research Library, Getty Research Institute, Los Angeles: Commission book no. 4, no. CA 3689. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1344.

Associated Names

Bottenwieser, Paul
Christie, Manson & Woods, Ltd.
Court Repington, Charles à
Haller Family
Heinemann, Rudolf J.
Knoedler & Company, M.
Kress Foundation, Samuel H.
Loder, Phyllis, Mrs.
Praun, Paul von
Thyssen-Bornemisza, Heinrich, Baron
Vaz Dias

Exhibition History

1986: Gothic and Renaissance Art in Nuremberg 1300-1550, The Metropolitan Museum of Art, New York; Germanisches Nationalmuseum, Nuremberg, 1986, no. 109 (shown only in New York).

2003: Albrecht Dürer, Albertina, Vienna, 2003, no. 29, repro.

2007: Dürer e l'Italia, Scuderie del Quirinale, Rome, 2007, no. IV.20, repro.

2007: Durero y Cranach: Arte y Humanismo en la Alemania del Renacimento, Museo Thyssen-Bornemisza, Madrid, 2007-2008, no. 31, repro.

2012: The Early Dürer, Germanisches Nationalmuseum, Nuremberg, 2012, no. 53, repro.

Technical Summary

Examination of the panel and the x-radiograph show that the support is comprised of four boards with vertically oriented grain. Unsmoothed adz marks are visible on the reverse, indicating that the panel was thinned and smoothed after joining. The edges are obscured by the picture frame, although it is possible to see that the bottom edge has been cut. Thin strips of wood are nailed to each picture edge.

Underdrawing in what appears to be a liquid material, possibly iron gall ink, can be seen in the Child's body with the unaided eye. Examination with infrared reflectography reveals diagonally hatched underdrawing in the face of the Madonna, and elsewhere a few contour lines. The Child's left foot was changed slightly from its underdrawn position. The coat of arms at the lower right has been heavily altered. The original arms are painted out, and both the x-radiograph and infrared reflectogram show only a single dark form against a light background. On the surface is a design of vertical and diagonal bars and three balls. Optical microscopy of the blue paint in this design disclosed synthetic ultramarine, a pigment that was not commercially produced until around 1828.[1] The Madonna and Child is in excellent condition. There is a scratch and a retouched loss in the window at the left. There is light abrasion in the flesh tones and in the glazes of the greens. The blue paint of the Madonna's robe is deeply cracked and has accumulated dark accretions in the thickest areas.

[1] Rutherford J. Gettens and George L. Stout, Painting Materials: A Short Encyclopedia (rev. ed., New York, 1966), 163.

Bibliography

1934: Buchner, Ernst. "Die Sieben Schmerzen Mariä: eine Tafel aus der Werkstatt des Jungen Dürer." Münchner Jahrbuch der bildenden Kunst N.F. 11 (1934): 262, 265, 268-270, fig. 14.

1934: Friedländer, Max J. "Eine Unbekannte Dürer-Madonna." Pantheon 14 (1934): 321-324, repro.

1935: Deusch, Werner R. Deutsche Malerei des sechzehnten Jahrhunderts: die Malerei der Dürerzeit. Berlin, 1935: 26, pl. 4, 5.

1935: Waetzoldt, Wilhelm. Dürer und seine Zeit. Vienna, 1935: 210, 331. (English edition, New York, 1950: 141, 227.)

1936: Pilz, Kurt. "Der Totenschild in Nürnberg und seine deutschen Vorstufen: das 14.-15. Jahrhundert." Anzeiger des Germanischen Nationalmuseums 49 (1936-1939): 72.

1937: Heinemann, Rudolf. Stiftung Sammlung Schloss Rohoncz. 3 vols. Lugano-Castagnola, 1937: 1:47, no. 127, 2:color pl. 30.

1938: Tietze, Hans, and Erika Tietze-Conrat. Kritisches Verzeichnis der Werke Albrecht Dürers. 3 vols. Basel and Leipzig, 1937: 2:15, no. 130a, repro. 173.

1943: Panofsky, Erwin. Albrecht Dürer. 2 vols. Princeton, 1943: 1:42, 2:10, no. 25.

1949: "Die Sammlung Thyssen der Öffentlichkeit zugänglich." Die Weltkunst 19 (1 September 1949): 8.

1950: Waetzoldt, Wilhelm. Dürer and His Times. New York, 1950: 141, 227.

1951: Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1945-1951. Introduction by John Walker, text by William E. Suida. National Gallery of Art, Washington, 1951: 190-192, no. 84, repro.

1951: Winkler, Friedrich. "Hans Wechtlins 'Schöne Maria'." Berliner Museen N.F. 1 (1951): 9, 11, fig. 2.

1952: Frankfurter, Alfred M. "Interpreting Masterpieces. Twenty-four Paintings from the Kress Collection." Art News Annual (1952): 111-112, repro. 106.

1952: Walker, John. "Your National Gallery of Art After 10 Years." National Geographic Magazine 101 no. 1 (January 1952): 74.

1954: Tietze, Hans. Treasures of the Great National Galleries. New York, 1954: 117.

1956: Shapley, Fern Rusk. National Gallery of Art. Portfolio Number 5: Masterpieces from the Samuel H. Kress Collection. Washington, 1956: no. 5, repro.

1957: Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 30.

1957: Winkler, Friedrich. Albrecht Dürer--Leben und Werk. Berlin, 1957: 77-78, 138, fig. 37.

1960: Broadley Hugh T. German Painting in the National Gallery of Art (Booklet no. 9 in Ten Schools of Painting in the National Gallery of Art, Washington, DC). Washington, 1960: 4, 20-21, color repro.

1961: Longhi, Roberto. "Una Madonna del Dürer a Bagnacavallo." Paragone 139 (1961): 5-7.

1961: Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 80, 81, 83, 210, color fig. 73.

1962: Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 70.

1962: Lüdecke, Heinz. "Dürer und Italien." In Dezennium 1: Zehn Jahre VEB Verlag der Kunst. Dresden, 1962: 292-293, repro.

1962: Neugass, Fritz. "Die Auflösung der Sammlung Kress." Die Weltkunst 32 (1 January, 1962): 4.

1963: Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 116, repro. 117.

1964: Lüdecke, Heinz. "Albrecht Dürer und Italien." Bildende Kunst no. 2 (1964): 75, 77, repro.

1965: Grote, Ludwig. Dürer: Biographical and Critical Study. Translated by Helga Harrison. Geneva, 1965: 49, 51, repro. 50.

1965: Summary Catalogue of European Paintings and Sculpture. .National Gallery of Art, Washington, 1965: 45.

1966: Benesch, Otto. German Painting. From Dürer to Holbein, transl. H.S.B. Harrison. Geneva, 1966: 19-20, repro. 18.

1966: Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:110-111, color repro.

1966: Musper, Heinrich Theodor. Albrecht Dürer. Translated by Robert Eric Wolf. New York, [1966]: 24.

1968: Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 13, 102-103, color repro.

1968: National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 38, repro.

1968: Zampa, Giorgio and Angela Ottino della Chiesa, L'opera completa di Dürer. Milan, 1968: 95, no. 50a, pl. 9.

1971: Anzelewsky, Fedja. Albrecht Dürer. Das Malerische Werk. Berlin, 1971: 28-29, 71, 90, 93, 140-142, no. 43, fig. 20, pls. 39, 41-44. (Rev. ed. 1991: 27, 71, 91, 142, no. 43, color pl. 40-41, 45-47.)

1971: Hofmann, Walter Jürgen. Über Dürers Farbe. Nürnberg, 1971: 43 nt. 105, 87.

1971: Lanckoronska, Maria Gräfin. Neue Neithart-Studien. Neithart bei Dürer, zur Dokumentation und zum neu entdeckten Werk von Matthäus Gotthart Neithart. Baden-Baden, 1971: 55-60, figs. 28-29.

1971: Mende, Matthias. "1471-Albrecht Dürer-1971." The Connoisseur 176 (1971): 165.

1972: Lüdecke, Heinz. Albrecht Dürer. New York, 1972: 14, fig. 2.

1973: Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 87, repro., 168

1973: Oehler, Lisa. "Das Dürermonogramm auf Werken der Dürerschule." Städel-Jahrbuch N.F. 4 (1973): 72, fig. 63.

1974: Stechow, Wolfgang. "Recent Dürer Studies." The Art Bulletin 56, no. 2 (June 1974): 260.

1975: European Paintings: An Illustrated Summary Catalogue (National Gallery of Art). Washington, 1975: 116-117, repro.

1975: Paltrinieri, Marisa and Franco De Poli. I Geni dell'arte: Dürer. Milan, 1975: 34, 63, 93, repro.

1975: Walker, John. National Gallery of Art, Washington. New York, 1975: 148-149, no. 160, repro.

1976: Mende, Matthias. Albrecht Dürer: Das Frühwerk bis 1500. Herrsching, 1976: 68-69, fig. 30.

1976: Strieder, Peter. Dürer. Milan, 1976: 40-41, 180, no. 11, repros.

1977: Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 12-16, figs. 11-14, color repro.

1977: Pope-Hennessy, John. "Completing the Account." Review of Colin Eisler, Paintings from the Samuel H. Kress Collection, London 1977. Times Literary Supplement no. 3,927 (17 June 1977).

1979: Ruggeri, Ugo. Dürer. Bologna, 1979: 22-23, no. 4, color repro.

1979: Westrum, Geerd. Altdeutsche Malerei. Munich, 1979: 84-86, repro.

1980: Anzelewsky, Fedja. Dürer--vie et oeuvre. Translated by Monique Fuchs. Fribourg, 1980: 74, 76, 78, 86, 87, color fig. 70.

1982: Abrams, Richard I. and Warner A. Hutchinson. An Illustrated Life of Jesus, From the National Gallery of Art Collection. Nashville, 1982: 40-41, color repro.

1982: Anzelewsky, Fedja. Dürer. His Art and Life. Translated by Heide Grieve. London, 1982: 70, 82, fig. 70-71.

1982: Strieder, Peter. Albrecht Dürer. Paintings. Prints. Drawings. Translated from German by Nancy M. Gordon and Walter L. Strauss. New York, 1982: 318-319, fig. 418.

1983: Wolff, Martha. German Art of the Late Middle Ages and Renaissance in the National Gallery of Art. Washington, 1983: unpaginated, repro.

1984: Sgarbi, Vittorio. Fondazione Magnani-Rocca. Capolavori della Pittura Antica. Milan, 1984: 74.

1984: Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 148-149, no. 154, color repro.

1985: European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 141, repro.

1990: Dülberg, Angelica. Privatportäts. Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert. Berlin, 1990: 297, no. 341, figs. 325-326.

1991: Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 187, color repro.

1992: National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 60-61, repro.

1993: Ezendam, Yolanda. Dürer. Translated by Mauro Liloni. Milan, 1993: fig. 19.

1993: Hand, John Oliver, with the assistance of Sally E. Mansfield. German Paintings of the Fifteenth through Seventeenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1993: 51-60, color repros. 53-54.

1994: Kamekura, Yusaku and Kijima, Shunsuke. Jozo ["Portraits of Women"]. Tokyo, 1994: 187, repro.

1995: Löcher, Kurt. Review of German Paintings of the Fifteenth through Seventeenth Centuries, by John Oliver Hand with the assistance of Sally E. Mansfield. Kunstchronik 43 no. 1 (January 1995): 15.

1999: Aikema, Bernard and Beverly Louise Brown. "Venice: Where North Meets South." In Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian. Exh. cat. Palazzo Grassi, 1999. Venice, 1999: 22, 24, color repro.

1999: Dunkerton, Jill. "North and South: Painting Techniques in Venice." In Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian. Exh. cat. Palazzo Grassi, 1999. Venice, 1999: 101.

2001: Mende, Matthias. "Dürer, Albrecht." In Allgemeines Künstler-Lexikon: Die bildenden Künstler aller Zeiten und Völker. Munich and Leipzig, 1992-[unfinished] [vols.] Munich and Leipzig, 2001: 30:301.

2003: Schmid, Wolfgang. Dürer als Unternehmer: Kunst, Humanismus und Ökonomie in Nürnberg um 1500. Trier, 2003: 100-101, fig. 9.

2004: Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 142-143, no. 111, color repro.

2009: Gariff, David, Eric Denker, and Dennis P. Weller. The World's Most Influential Painters and the Artists They Inspired. Hauppauge, NY, 2009: 35, color repro.

2010: Wolf, Norbert. Dürer. Munich, 2010: 238, no. 14, repro.

2012: Sauerländer, Willibald. “Dürer and Renoir.” New York Review of Books 59, no. 13 (August 16, 2012): 54.

2013: Delaney, John K., E. Melanie Gifford, Lisha D. Glinsman, John Oliver Hand, and Catherine Metzger. "Common Painting and Diligent Fiddling: Technical Analysis for Insight into the Divergent Styles of Dürer's 'Madonna and Child'/'Lot and his Daughters'. In The Challenge of the Object / Die Herausforderung des Objekts. 33rd Congress of the International Committee of the History of Art. Nuremberg, 2013: 1036-1040, fig. 1.

2021: Foister, Susan and Peter van den Brink, ed. Dürer’s Journeys: Travels of a Renaissance Artist. Exh. cat. National Gallery London 2021: no. 7; 19, 20, 58, 292.

2021: Gaay Fortman, Pienk de. "Highlights: Op reis mit Albrecht Dürer" review of exhibition Dürer's Journeys. (National Gallery London, 2021). Tableau Fine Arts Magazine 48, no. 1 (lente 2021): 68-69, color repro.