The Expectant Madonna with Saint Joseph
c. 1425/1450
Painter
Artwork overview
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Medium
tempera on European walnut
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Credit Line
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Dimensions
image: 70.5 × 35 cm (27 3/4 × 13 3/4 in.)
with integral frame: 83.5 × 47.63 × 7.62 cm (32 7/8 × 18 3/4 × 3 in.)
framed (shadow box): 93.98 × 58.42 × 10.16 cm (37 × 23 × 4 in.) -
Accession
1952.5.32
Artwork history & notes
Provenance
Private collection, Lyon, France.[1] (Alessandro Contini Bonacossi, Florence); purchased July 1950 by the Samuel H. Kress Foundation, New York;[2] gift 1952 to NGA.
[1] This is unverified, but cited in William Suida, Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation, 1945-1951, Washington, D.C., 1951: 174.
[2] Correspondence from the Samuel H. Kress Foundation, in NGA curatorial files. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/2166.
Associated Names
Exhibition History
2012
The Road to Van Eyck, Museum Boijmans Van Beuningen, Rotterdam, 2012 - 2013, unnumbered catalogue.
Bibliography
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: 174, no. 76, repro., as School of Amiens.
1954
Feudale, Caroline. "The Iconography of the Madonna del Parto." Marysas 7 (1954-1957): 13, fig.11.
1959
Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 329, repro., as School of Amiens.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 7, as School of Amiens.
1966
Castelnuovo, Enrico. Il gotico internationale in Francia e nei Paesi Bassi. Milan, 1966: pl. 15.
Laclotte, Michel. Primitifs français. Paris, 1966: pl. 13.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 1, repro., as School of Amiens.
1974
Urbach, Zsuzsa. "'Dominus Possideit me...' (Prov. 8:22). Beitrag zur Ikonographie des Josephzweifels." Acta Historiae Artium 20 (1974): 236-237, fig. 31.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 10, repro., as School of Amiens.
1977
Sterling, Charles. "Un nouveau tableau bourguignon et les Limbourg." In Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss. 2 vols. New York, 1977: 424-426, fig. 11.
Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 236-238, fig. 227.
1978
Foster, Marjory Bolger. "The Iconography of St. Joseph in Netherlandish Art: 1400-1550." Ph.D. dissertation, University of Kansas, Lawrence, 1978: 89.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 125, no. 108, color repro., as by School of Amiens.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 23, repro.
Hall, Edwin, and Horst Uhr. "Aureola super Auream: Crowns and Related Symbols of Special Distinction for Saints in Late Gothic and Renaissance Iconography." The Art Bulletin 67, no. 4 (December 1985): 575, 577, fig. 6.
1987
Sterling, Charles. La peinture médiévale à Paris 1300-1500. 2 vols. Paris, 1987: 1:413-418, no. 58, fig. 294.
1993
Seidel, Linda. Jan van Eyck's Arnolfini Portrait: Stories of an Icon. Cambridge, 1993: 37, 100, fig. 21.
Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: fig. 204.
1994
Mills, John S., and Raymond White. The Organic Chemistry of Museum Objects. Oxford and Boston, 1994: 171.
1997
St. Anthony Messenger. Cincinnati, Ohio, 1997: front cover, repro.
1998
Gersch-Nešic, Beth. “Pregnancy." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:753.
2001
Wilson, Carolyn C. St. Joseph in Italian Renaissance Society and Art: New Directions and Interpretations. Philadelphia, 2001: 205 n. 70, 223 n. 188.
2009
Conisbee, Philip, et al. French Paintings of the Fifteenth through the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 2009: no. 42, 204-208, color repro.
Strool, Cyriel, ed. Pre-Eyckian Panel Painting in the Low Countries. 2 vols. Brussels, 2009: 2:168.
Inscriptions
center on edge of Madonna's mantle: ALELVI REGINA CELI LET[ARE ALLE]LVIA QVIA EVAM (Alleluia, Queen of Heaven, rejoice because He whom) [inscription is from the Regina Coeli, an Easter antiphon]
Wikidata ID
Q20173439