Enthroned Madonna and Child

c. 1250/1275

A woman sits on a wide, high-backed throne with a child on her lap against a gold background in this vertical painting. Their peachy skin is deeply shadowed with greenish gray. To our left of center, the woman’s body nearly fills the panel as she sits with her shoulders angled slightly to our right. She tilts her head in that direction as she gazes at us from the corners of almond-shaped, hazel eyes under arched brows. She has a slender face with a long nose and a petite coral-red mouth. A marine-blue mantle covers her head and wraps around her body. The mantle has fallen open at the neckline and the right knee to reveal her dark, navy-blue robe underneath. The child sits upright in the crook of her left arm, on our right. Her left hand cradles the child’s bottom while her other hand, to our left, rests delicately on his knee. The child faces our left and tilts his head to look up at the woman while reaching his far hand to her with two raised fingers. A bone-white scroll is clutched in his near hand. He has wavy, chestnut-brown hair and large, dark eyes. He wears a tomato-red robe and thin, black sandals. A spruce-blue sash wraps around the shoulders and waist of the robe. The folds and creases of their garments are suggested by densely spaced gold lines that bend in angular curves around their knees, legs, and arms. In pointed red shoes, the woman rests her feet on a stool just before the wide, ginger-brown throne, which is decorated with inset camel-brown and tan squares and rectangles. The back of the throne alternates between bands of carved decoration and spindles. Teardrop-shaped finials line the back. The woman and child have halos incised into the gold background beyond them. The child’s halo is divided by three, wide, garnet-red rays. Winged angels with gold halos in brick-red circles hover in the upper left and right. The glimmering gold background is worn in some areas and is cracked throughout.

Media Options

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The composition of this Virgin and Child is loosely based on the Hodegetria, one of the more powerful and enduring icon types of the Orthodox Christian church. The Virgin gestures toward the child to show him as the “way” (hodos in Greek), the source of salvation. The throne and her red shoes present her as the Queen of Heaven, and the archangels in the roundels beside her hold imperial regalia, which are typical attributes of archangels. The first of this type, housed in the Hodegon monastery in Constantinople, was an active part of civic and religious life in the Byzantine capital. Said to produce miracles daily, it was taken out of the monastery every Tuesday so the public could see it. It was invoked against plague and carried by imperial armies as a talisman in battle.

Expert opinion differs about the origin of this painting (known as the Kahn Madonna after an earlier owner) and the National Gallery of Art’s Madonna and Child on a Curved Throne, also of Byzantine origin. The soft shadows of this Virgin’s face and her tender expression are paralleled in a mosaic of Mary in the great basilica of Hagia Sophia in Istanbul (formerly Constantinople).

Byzantine art made a powerful impact on 13th- and 14th-century Italian painting, which emphasizes the spiritual world of Paradise, with elongated and weightless figures, more like spirits than physical human beings, skies of heavenly gold, and flat, stylized patterning of drapery. The gold striations that define folds in clothing, the round volume of Mary’s veiled head, and Jesus’s frontal pose—looking more like a miniature adult than a child—are all part of the Byzantine tradition.

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Artwork overview

  • Medium

    tempera on poplar panel

  • Credit Line

    Gift of Mrs. Otto H. Kahn

  • Dimensions

    painted surface: 124.8 x 70.8 cm (49 1/8 x 27 7/8 in.)
    overall: 130.7 x 77.1 cm (51 7/16 x 30 3/8 in.)
    framed: 130.5 x 77 x 6 cm (51 3/8 x 30 5/16 x 2 3/8 in.)

  • Accession

    1949.7.1

More About this Artwork

Scholarly Article:  Italian Paintings of the Thirteenth and Fourteenth Centuries: Enthroned Madonna and Child, c. 1250/1275

This horizontal painting is made up of three parts: in the center square panel, a woman reclines under a wooden shelter set into a rocky cave, which is surrounded by angels, and narrower wings to either side are each occupied by a standing man. All the people have pale skin, which is tinged with faint green. The three panels are joined with a gold frame, and the gold background behind the central scene and the men in the side panels are covered with a noticeable network of cracks. In the central panel, a cobalt-blue robe nearly envelopes the reclining woman’s body; this is Mary. It covers her head and falls open where she crosses her wrists over her chest to show a pink garment underneath. A flat gold halo encircles her head ,and her body is surrounded by a field of crimson red, almost like an aura. She rests under a wooden structure with a pitched roof, which is surrounded by craggy, barren rock. A swaddled infant lies in a rectangular, tray-like manger. The infant’s head is also surrounded by a gold halo. Fine gold rays emanate down into the structure from a star just above the peak of the roof. A bull and a donkey look down at the baby from the far side of the manger. The interior of the structure behind them is black. In a smaller scale, two women wash a haloed infant in a tub in front of the rocky cave near the lower left corner of this panel. A man with a white beard and hair sits to our left of Mary, holding a pink cloak at his throat and looking toward the infant. Above and around the rocks, seven winged and haloed angels cluster on each side. One angel to the right presents a scroll with black writing to two men accompanied by a dog and several sheep in the lower right. The man in the panel to the left, Isaiah, has a gray beard and long, wavy hair, and he wears a lilac-purple cloak draped over a coral-orange robe. In his right hand, on our left, he holds an unfurled scroll with large black lettering. His other hand is raised with one finger pointing upward. He looks to our left, away from the central scene. On the right, Ezekiel, echoes Isaiah's pose. Ezekiel holds an open scroll with his left hand, on our right, and his other hand is raised. He also wears a coral-colored robe, but his is overlaid with a blue cloak. His receding hair is short and brown, as is his beard. Like Isaiah, he takes up most of the height of the panel and gazes to our left, toward the central panel.

Scholarly Series:  Italian Paintings of the Thirteenth and Fourteenth Centuries

Artwork history & notes

Provenance

Said to have come from a church, or convent, in Calahorra (province of La Rioja, Spain);[1] (art market, Madrid), in 1912. (Herbert P. Weissberger, Madrid).[2] (Emile Pares, Madrid, Paris, and New York); (his sale, Anderson Galleries, New York, 18-19 February 1915, 2nd day, no. 306, as by Giovanni Cimabue); (Emile Pares, Madrid, Paris, and New York);[3] sold 26 November 1915 to (F. Kleinberger & Co., New York).[4] Otto Kahn [1867-1934], New York, by 1917;[5] by inheritance to his widow, Addie Wolff Kahn [d. 1949], New York;[6] gift 1949 to NGA.
[1] The provenance was first published as “from the Cathedral of Calahara, Spain” in the 1915 sale catalog of the Emile Pares collection, and it is repeated with various modifications in the subsequent literature. Although the Spanish provenance has sometimes been doubted, NGA Systematic Catalogue author, the late Miklòs Boskovits, did not see any firm basis for such an allegation. He asked why should such an apparently unlikely provenance be fabricated for a painting considered to be, as was the Kahn Madonna, the work of an Italian artist, Cimabue or Cavallini. Boskovits considered speculations like those put forward by August Mayer (“Correspondence,” _ Art in America_ 12 [1924]: 234-235) and James Stubblebine (“Two Byzantine Madonnas form Calahorra Spain,” _ The Art Bulletin_ 48 [1966]: 379-381), linking the arrival of NGA 1949.7.1 and its companion-piece (NGA 1937.1.1) to Spain with the story of Anna Constance, widow of the emperor John III Ducas Vatatzes (who lived in Valencia since 1269 and died there in 1313), to be, for the time being, idle. There could be various other ways to explain the presence of the two paintings at Calahorra (see Otto Demus, “Zwei Konstantinopler Marienikonen des 13. Jahrhunderts,” Jahrbuch der Österreichischen Byzantinischen Gesellschaft 7 [1958]: 93-94); the provenance should, according to Boskovits, be considered valid until demonstrated otherwise. As Rolf Bagemihl wrote to David Alan Brown (letter of July 1992, in NGA curatorial files): “There has been a confusion and deprecation of the Calahorra provenance, but Parès[sic] was a serious collector and it might be profitable to have some research done on his collection, and right in Calahorra.”
[2] In 1949 Edward B. Garrison (Italian Romanesque Panel Painting, Florence, 1949: 44, no. 23) included Madrid and Weissberger (Garrison spelled the name Weissburger) in his provenance of the painting, without including any dates. In 1982 Hans Belting (“The ‘Byzantine’ Madonnas: New Facts about their Italian Origins and Some Observations on Duccio,” Studies in the History of Art 12 [1982]: 7, 21 n. 2) wrote that the painting had come on the art market in Madrid in 1912, and that it was Weissberger who claimed the painting had come from Calahorra. However, according to Belting, Robin Cormack found in Edward B. Garrison’s papers (at the Courtauld Institute, London) the information that Weissberger had fabricated the Calahorra provenance, information that Cormack referred to in a lecture given at Dumbarton Oaks in Washington in 1979.
[3] The purchaser at the Pares sale is recorded as G.W. Arnold in an annotated copy of the sale catalogue in the NGA Library, as well as in a report on the sale in American Art News (27 February 1915): 7. Arnold is also given as the purchaser of other lots. However, there is a Pares invoice for the sale of the painting to Kleinberger later in the year (see note 4), so perhaps Arnold was buying for Pares, and the painting was actually bought in. Indeed, Osvald Sirén writes about the sale: “Somehow none of the New York collectors or dealers at that time seems to have grasped the artistic and historical importance of the work; the bidding was very slow, and the original purchaser retained his treasure. When I came to New York about a year later [early 1916] the picture was in the hands of a well known dealer…” (“A Picture by Pietro Cavallini,” The Burlington Magazine for Connoisseurs 32, no. 179 [February 1918]: 45).
[4] The Pares invoice for the sale to Kleinberger describes the painting as "Vierge[sic] sur pauneau garanté du 13th siecle. provenant de la Cathèdrale de Calahorra" (Kleinberger files in the Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 251, box 396, folder 5; copy in NGA curatorial files).
[5] Kahn owned the painting by the time he lent it to an exhibition at Kleinberger Galleries that was on view in November 1917. It has not yet been determined when and from whom Kahn purchased the painting, although it was possibly from Kleinberger.
[6] Although Duveen Brothers asked at least in 1941 what price Mrs. Kahn would accept for the painting, she specifically told them it was not for sale and that it was not to be shown to anyone (the dealer was storing the painting for her); Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 328, box 473, folder 2; copies in NGA curatorial files.

Associated Names

Exhibition History

1917

  • Loan Exhibition of Italian Primitives, F. Kleinberger Galleries, New York, 1917, no. 69, repro., as The Madonna and Child by Pietro Cavallini.

Bibliography

1917

  • Sirén, Osvald, and Maurice W. Brockwell. Catalogue of a Loan Exhibition of Italian Primitives. Exh. cat. F. Kleinberger Galleries. New York, 1917: 178, repro. 179.

1918

  • Sirén, Osvald. "A Picture by Pietro Cavallini." The Burlington Magazine for Connoisseurs 32 (1918): 44-47, pl. 1.

1921

  • Berenson, Bernard. "Due dipinti del decimosecondo secolo venuti da Costantinopoli." Dedalo 2 (1921): 284 (repro.), 285–286, 289, 292–304, repro. 300–301.

  • Marle, Raimond van. La peinture Romaine au Moyen-Age. Strasbourg, 1921: 227-228, fig. 116.

1923

  • Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 1(1923):502, 503, 505, fig. 291.

  • Mather, Frank Jewett. A History of Italian Painting. New York, 1923: repro. 13.

1924

  • Mayer, August L. "Correspondence." Art in America 12 (1924): 234-235.

1925

  • Busuioceanu, Alexandru. "Pietro Cavallini e la pittura romana del Duecento e del Trecento." Ephemeris Dacoromana 3 (1925): 394.

1927

  • Toesca, Pietro. Il Medioevo. 2 vols. Storia dell’arte italiana, 1. Turin, 1927: 2:1035 n. 39.

1928

  • Cecchi, Emilio. Trecentisti senesi. Rome, 1928: 12, 125.

1930

  • Berenson, Bernard. Studies in Medieval Painting. New Haven, 1930: 4-16, figs. 1, 10, 11.

  • Schweinfurth, Philipp. Geschichte der russischen Malerei im Mittelalter. The Hague, 1930: 377-379.

1931

  • Fry, Roger. "Mr Berenson on Medieval Painting." The Burlington Magazine for Connoisseurs 58, no. 338 (1931): 245.

1932

  • Marle, Raimond van. Le scuole della pittura italiana. 2 vols. The Hague and Florence, 1932-1934: 1(1932):519, 522-523, 520 fig. 345.

1933

  • Lazarev, Viktor Nikitič. "Early Italo-Byzantine Painting in Sicily." The Burlington Magazine for Connoisseurs 63 (1933): 283-284.

1934

  • Sandberg-Vavalà, Evelyn. L’iconografia della Madonna col Bambino nella pittura italiana del Dugento. Siena, 1934: 44 no. 120, pl. 27a.

1935

  • D’Ancona, Paolo. Les primitifs italiens du XIe au XIIIe siècle. Paris, 1935: 46-47, fig. 17.

  • Muratov, Pavel P., and Jean Chuzeville. La peinture byzantine. Paris, 1935: 137, pl. 193.

1936

  • Comstock, Helen. "A Dugento Panel at the Toledo Museum." Connoisseur 98 (1936): 231.

  • Lazarev, Viktor Nikitič. "New Light on the Problem of the Pisan School." The Burlington Magazine for Connoisseurs 68 (1936): 61-62.

1937

  • Lazarev, Viktor Nikitič. Istorija vizantijskoj živopisi: v druch tomach. Moscow, 1947-1948: 192, 351 n. 116.

1940

  • Rice, David Talbot. "Italian and Byzantine Painting in the Thirteenth Century." Apollo 31 (1940): 89-90.

1949

  • Garrison, Edward B. Italian Romanesque Panel Painting: An Illustrated Index. Florence, 1949: repro. 44.

1950

  • Comstock, Helen. "The Connoisseur in America." Connoisseur 126, no. 517 (1950): 52, repro. 53.

1951

  • Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 12-15, repro., as Enthroned Madonna and Child.

1954

  • Bettini, Sergio. "I mosaici dell’atrio di San Marco e il loro seguito." Arte veneta 8 (1954): 32, n. 6.

1956

  • Walker, John. National Gallery of Art, Washington. New York, 1956: 7, repro.

  • Felicetti-Liebenfels, Walter. Geschichte der byzantinischen Ikonenmalerei. Olten, 1956: 61, pl. 64.

1957

  • Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): 3-4, pl. 2.

1958

  • Demus, Otto. "Die Entstehung des Paläologenstils in der Malerei." In Berichte zum XI Internationalen Byzantinisten-Kongress. Munich,1958: 16, 54-55.

  • Demus, Otto. "Zwei Konstantinopler Marienikonen des 13. Jahrhunderts." Jahrbuch der Österreichischen Byzantinischen Gesellschaft 7 (1958): 87-104, figs. 1, 4.

1959

  • Lazarev, Viktor Nikitič. "Constantinopoli e le scuole nazionali alla luce di nuove scoperte." Arte veneta 13-14 (1959-1960): 11-13, figs. 4, 5.

1961

  • Swoboda, Karl Maria. "In den Jahren 1950 bis 1961 erschienene Werke zur byzantinischen und weiteren ostchristlichen Kunst." Kunstgeschichtliche Anzeigen 5 (1961-1962): 148.

1962

  • Bologna, Ferdinando. La pittura italiana delle origini. Rome, 1962: 80-81.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 64, repro.

1964

  • Pallucchini, Rodolfo, ed. La pittura veneziana del Trecento. Venice, 1964: 71-72.

1965

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 21.

  • Calì, Maria. "L’arte in Puglia." Arte antica e moderna 15 (1965): 389.

1966

  • Stubblebine, James H. "Two Byzantine Madonnas from Calahorra, Spain." The Art Bulletin 48 (1966): 379-381, figs. 1, 4, 8, 9.

1967

  • Lazarev, Viktor Nikitič. Storia della pittura bizantina. Turin, 1967: 318-319, 347 n. 177.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 14, repro.

  • Rice, David Talbot. Byzantine Painting: The Last Phase. London, 1968: 55, pl. 67.

1969

  • Bologna, Ferdinando. I pittori alla corte angioina di Napoli, 1266-1414, e un riesame dell’arte nell’età fridericiana. Rome, 1969: 22, 354.

1970

  • Beckwith, John. Early Christian and Byzantine Art. The Pelican History of Art. Harmondsworth, Middlesex, 1970: 140.

  • Demus, Otto. Byzantine Art and the West. New York, 1970: 216-218, 251 n. 147, fig. 237.

1972

  • Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 230, 311, 647.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 50, repro.

1976

  • Stoichita, Victor Ieronim. Ucenicia lui Duccio di Buoninsegna. Bucharest, 1976: 30-34, 149-150.

1979

  • Shapley, Fern Rusk. Catalogue of the Italian Paintings. National Gallery of Art. 2 vols. Washington, 1979: 1:96-99; 2:pl. 66.

1982

  • Belting, Hans. "The 'Byzantine' Madonnas: New Facts about Their Italian Origin and Some Observations on Duccio." Studies in the History of Art 12 (1982): 8ff, repro.

  • Hoenigswald, Ann. "The 'Byzantine' Madonnas: Technical Investigation." Studies in the History of Art 12 (1982): 25-31, figs. 3 (X-radiograph), 4 (detail), 5 (photomicrograph detail),

  • Belting, Hans. "Introduzione." In Il medio oriente e l’occidente nell’arte del XIII secolo, Atti del XXIV congresso internazionale di storia dell’arte, September 10-18, 1979. Edited by Hans Belting. Bologna, 1982: 4-5, 9 n. 19, pl. 9.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 64, no. 1, color repro.

  • Os, Hendrik W. van. Sienese Altarpieces 1215-1460. Form, Content, Function. 2 vols. Groningen, 1984-1990: 1(1984):23, 26, fig. 22.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 23, repro.

  • Corrie, Rebecca W. "Tuscan Madonnas and Byzantine Masters." In Abstracts and Program Statements for Art History Sessions: Seventy-Third Annual Meeting, College Art Association of America, February 14-16, 1985. Los Angeles, 1985: 46.

1986

  • Leone De Castris, Pierluigi. "Pittura del Duecento e del Trecento a Napoli e nel Meridione." In La Pittura in Italia. Il Duecento e il Trecento. Edited by Enrico Castelnuovo. 2 vols. Milan, 1986: 2:463.

1987

  • Folda, Jaroslav. "The Kahn and Mellon Madonnas: Icons or Altarpieces?" In Research Reports and Record of Activities, National Gallery of Art, Center for Advanced Study in the Visual Arts, 7 (1987): 57+.

1990

  • Belting, Hans. Bild und Kult: Eine Geschichte des Bildes vor dem Zeitalter der Kunst. Munich, 1990: 33, 415 pl. 8, 417, 419 fig. 225, 420.

1991

  • Pace, Valentino. "Dieci secoli di affreschi e mosaici romani: osservazioni sulla mostra ‘Fragmenta picta’." Bollettino d’arte 76 (1991): 204-205, fig. 9.

  • Campagna Cicala, Francesca. "Messina. Scultura, pittura, miniatura e arti suntuarie." In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 8(1997):353.

  • Leone De Castris, Pierluigi. “Sicilia: Pittura e miniatura.” In Enciclopedia dell’arte medievale. Edited by Istituto della Enciclopedia italiana. 12 vols. Rome, 1991-2002: 10(1999):616-623.

1992

  • National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 10, repro.

1993

  • Di Dario Guida, Maria Pia. Icone di Calabria e altre icone meridionali. 2nd ed. Messina, 1993: 111 (repro.), 119, 121.

1995

  • Folda, Jaroslav. "The Kahn and Mellon Madonnas: Icon or Altarpiece?" In Byzantine East, Latin West. Art-Historical Studies in Honor of Kurt Weitzmann. Princeton, 1995: 501+, repro.

  • Weyl Carr, Annemarie. "Byzantines and Italians on Cyprus: Images of Art." Dumbarton Oaks Papers 49 (1995): 352 n. 71.

1996

  • Gordon, Dillian. “Duccio (di Buoninsegna).” In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 9:341.

  • Schmidt, Victor M. "Die Funktionen der Tafelbilder mit der thronenden Madonna in der Malerei des Duecento." Mededelingen van het Nederlands Instituut te Rome 55 (1996): 60-63, fig. 15.

1997

  • Cracraft, James. The Petrine Revolution in Russian Imagery, Chicago and London, 1997: no. 1, repro.

  • Chelazzi Dini, Giulietta, Alessandro Angelini, and Bernardina Sani. Sienese Painting From Duccio to the Birth of the Baroque. New York: 1997: 26, 177 n. 16.

  • Evans, Helen C., and William D. Wixom, eds. The Glory of Byzantium: Art and Culture of the Middle Byzantine Era, A.D. 843-1261. Exh. cat. Metropolitan Museum of Art. New York, 1997: 397.

  • Maginnis, Hayden B. J. Painting in the Age of Giotto: A Historical Reevaluation. University Park, PA, 1997: 77, fig. 5.

  • Martin, Frank, and Gerhard Ruf. Die Glasmalereien von San Francesco in Assisi: Entstehung und Entwicklung einer Gattung in Italien. Regensburg, 1997: 70 n. 33, 72 n. 142.

1998

  • Bellosi, Luciano. Cimabue. Edited by Giovanna Ragionieri. 1st ed. Milan, 1998: 58-59 (repro.), 62 n. 19, 63 n. 22.

1999

  • Lauria, Antonietta. "Una Madonna tardoduecentesca tra Roma e Assisi." in Arte d’Occidente: temi e metodi. Studi in onore di Angiola Maria Romanini. Edited by Antonio Cadei. 3 vols. Rome, 1999: 2:641-642.

  • Polzer, Joseph. "Some Byzantine and Byzantinising Madonnas Painted During the Later Middle Ages, 2." Arte cristiana 87 (1999): 167-182, figs. 11, 24.

2000

  • Kirsh, Andrea, and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. Materials and Meaning in the Fine Arts 1. New Haven, 2000: 179-180, fig. 188.

  • Labriola, Ada. "Lo stato degli studi su Cimabue e un libro recente." Arte cristiana 88 (2000): 343, 350 n. 18-19, 351 n. 33.

2002

  • Folda, Jaroslav. "Icon to Altarpiece in the Frankish East: Images of the Virgin and Child Enthroned." In Italian Panel Painting of the Duecento and Trecento. Edited by Victor M. Schmidt. Studies in the History of Art 61 (2002): 127-129, 131-133, 139, fig. 4.

  • Polzer, Joseph. "The ‘Byzantine’ Kahn and Mellon Madonnas: Concerning their Chronology, Place of Origin, and Method of Analysis." Arte cristiana 90 (2002): 401-410, repro. 402,

2003

  • Pasut, Francesca. A Critical and Historical Corpus of Florentine Painting. Supplementary Volume. Vol. 2: Ornamental Painting in Italy (1250–1310). An Illustrated Index. Edited by Miklós Boskovits. Florence, 2003: 125 n. 20.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 4-5, no. 1, color repro.

  • Evans, Helen C., ed. Byzantium: Faith and Power (1261-1557). Exh. cat. Metropolitan Museum of Art, New York. New Haven, 2004: 476-477, repro.

2005

  • Corrie, Rebecca W. "The Khan and Mellon Madonnas and their Place in the History of the Virgin and Child Enthroned." In Images of the Mother of God: Perceptions of the Theotokos in Byzantium. Edited by Maria Vassilaki. Aldershot, UK and Burlington, VT, 2005: 293-300, pl. 20, fig. 24.1, fig. 24.3.

  • Folda, Jaroslav. Crusader Art in the Holy Land: From the Third Crusade to the Fall of Acre, 1187-1291. New York, 2005: 457, 557, fig. 299.

2006

  • Herbert, Lynley Anne. "Duccio di Buoninsegna: Icon of Painters, or Painter of “Icons"?." Ph.D. dissertation, University of Delaware, Newark, 2006: 11, fig. 6.

2008

  • Folda, Jaroslav. Crusader Art: The Art of the Crusaders in the Holy Land, 1099-1291. Adershot, England, and Burlington, VT, 2008: 9, repro. 129, 130, 163 n. 28.

2013

  • Harris, Neil. Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience. Chicago and London, 2013: 246, 250.

2015

  • Folda, Jaroslav, with a contribution by Lucy J. Wrapson. Byzantine Art and Italian Panel Painting: The Virgin and Child "Hodegetria" and the Art of Chrysography. Cambridge, England, 2015: 105, 115-122, 128-131, 193-194, pl. 19, 323-329 notes.

2016

  • National Gallery of Art. Highlights from the National Gallery of Art, Washington. Washington, 2016: 35, repro.

  • Boskovits, Miklós. Italian Paintings of the Thirteenth and Fourteenth Centuries. The Systematic Catalogue of the National Gallery of Art. Washington, 2016: 38-43, color repro.

2020

  • Castiñeiras, Manuel. "Un nuovo contesto per la Madonna Kahn? Michele VIII, l'unione delle Chiese e la sconcertante connessione con Calahorra." Arte Medievale serie 4, 10 (2020): 261-282, figs. 1, 3, 5 (detail), 10a (x-ray image), 10b (detail), 11 (reconstruction), 12, 14 (detail), and 15a-d (details).

Wikidata ID

Q20172905

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