Mary, Queen of Heaven

c. 1485/1500

Master of the Saint Lucy Legend

Artist, Netherlandish, active c. 1480 - c. 1510

Master of the Saint Lucy Legend

A woman wearing long robes and standing on an upturned, gold crescent moon is surrounded by twenty winged angels who lift her up, sing, or play musical instruments in this vertical painting. Below, a grassy landscape with rocky hills, a river, and buildings stretches into the distance. Along the top edge of the painting and smaller in scale, more angels surround two men sitting on a throne, holding a crown. All the people have smooth, pale skin, oval faces with small, delicate facial features, and long wavy hair. They wear fluttering, jewel-toned robes. The woman at the center, Mary, stands facing us with her eyes downcast and her hands held together in prayer. Her strawberry-blond hair lightens where her hair rests over her shoulders, and a jeweled band encircles her head. She wears a long, ruby-red dress with a jeweled neckline and navy-blue cloak trimmed with gold. Eight of the winged angels seem to lift her body, four along each side. Seven more angels float around the scene playing instruments, including a lute, a harp, recorder-like instruments, and stringed instruments, one of which resembles a violin and another a dulcimer. Along the top of the group, around Mary’s head, four angels sing, holding sheet music. In tiny letters, writing on the sheet of music to our left reads, “A ve regina celorum mr regis,” while the writing on the music to our right reads, “A Tenor ve regina.” The angels wear robes in emerald green, royal or sky blue, butter yellow, rose pink, tomato red, silver, or white, and their wings match their robes. Some of the robes are embroidered with gold and some angels wear jeweled diadems. The edges of an oval, gold halo are visible behind the angels at Mary’s head and feet. Above Mary and the angels, a scene, much smaller in scale, recedes into the distance within a ring of dark clouds. Two haloed, bearded men wearing scarlet-red robes and with shoulder-length brown hair sit on a wide throne covered with a black and gold brocade cloth. The man to our left is bareheaded and the man to our right has a tall, blue and gold crown. A white dove with wings spread hovers above a second gold crown they hold between them. More than a dozen angels surround the throne, holding up the cloth or singing. A black and red checked tile floor stretches in front of the throne. Along the bottom edge of the painting, beneath Mary and the angels, a grassy landscape with fields and trees stretches into the distance to gray castle-like structures. A river winds from the lower right between the buildings. A man rides a horse near the riverbank to our right, and the shore is lined with minuscule shells. To our left, a second man walks in the field, away from us toward the building, and another man crosses a short bridge over a second, smaller stream.

Media Options

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This unusually large panel painting depicts three facets of Marian iconography: the Virgin's corporeal assumption, the Immaculate Conception—the crescent moon and the radiance behind her identify Mary as the Woman of the Apocalyse, mentioned in Revelation 12:I—and the Coronation of the Virgin. The painting is of great interest to musicologists in that it depicts Renaissance instruments with great accuracy and also reflects contemporary performance practices in the arrangement of the music–making angels. At the top, a full orchestra plays before the three figures of the Trinity. The ensemble around the Virgin is a mixed consort composed of "loud" instruments (trumpets and shawms) and "soft" instruments (vielle, lute, and harp). Two of the singing angels hold books bearing legible lyrics and notations. This music, which is the source of the painting's title, has been identified as derived from a setting of the Marian antiphon, Ave Regina Caelorum, by Walter Frye (d. 1474/1475), an English composer whose works were popular on the Continent, particularly at the Burgundian court.

Historians refer to the artist as the Master of the Saint Lucy Legend because his principal work, an alterpiece dated 1480, depicts episodes from the life of that saint. His style is characterized in both paintings by oval faces that are restrained in expression, the use of extraordinarily intense color, and a tendency to over–emphasize elaborate textures.

On View

West Building Main Floor, Gallery 40

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Artwork overview

  • Medium

    oil on panel

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    painted surface: 199.2 x 161.8 cm (78 7/16 x 63 11/16 in.)
    overall (panel): 201.5 x 163.8 cm (79 5/16 x 64 1/2 in.)
    framed: 220.03 × 182.88 × 9.53 cm (86 5/8 × 72 × 3 3/4 in.)
    framed weight: 92.987 kg (205 lb.)

  • Accession Number

    1952.2.13

Artwork history & notes

Provenance

Probably Don Pedro Fernández de Velasco, Count of Haro and Constable of Castile [d. 1492], for the convent of Santa Clara, Medina de Pomar, near Burgos, until at least 1934.[1] Raimundo Ruiz y Ruiz, Madrid.[2] (French & Company, New York, by c. 1947); purchased 1949 by the Samuel H. Kress Foundation, New York;[3] gift 1952 by exchange to NGA.
[1] According to notes from the Kress Foundation records, now in the NGA curatorial files, an escutcheon at the top of the purportedly original frame once bore the arms of Don Pedro Fernández de Velasco, Count of Haro and Constable of Castile (c. 1425-1492). An old photograph in the curatorial files shows a space at the top of the frame where the arms may have been. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, (Oxford, 1977), 61, thinks the frame is original and made in Spain; the Gallery's frame and painting conservators suggest that the frame is not original, but includes portions of an old frame. The records of French & Company indicate only that the painting was "said to have been the gift of a Constable of Castile to a convent near Burgos founded by his daughter and suppressed in the nineteenth century," correspondence of 19 July 1967 to Eisler and Eisler (as above), 63. The most convincing suggestion for the painting's original location is made by Ann Roberts, "The Master of the Legend of Saint Lucy: A Catalogue and Critical Essay," Ph.D. diss. (University of Pennsylvania, 1982), 92-95, who places it in the chapel of the Immaculate Conception in the convent of Santa Clara in Medina de Pomar, near Burgos. Don Pedro's daughter, Doña Leonor, was abbess of the convent. Don Pedro had begun construction of the chapel in 1460 and his son finished paying for it. Roberts cites a description of a painting in the convent in 1934 that accords in terms of dimensions, style, and subject matter with Mary, Queen of Heaven; this is contained in Julián Garcia Sáinz de Baranda, Medina de Pomar. Como Lugar Arqueológico y Centro de Turismo de las Merindades de Castilla-Vieja, (Alcala de Henares, 1934), 88: "Otra table flamenca atribuida a Van der Weiden, de unos dos metros de alta, por 1,50 de ancha que tiene por asunto la Asuncion de la Virgen obra maestra llena de colorido y expresion." The identification would seem to be strengthened by the fact that the painting is not mentioned in Jacques Lavalleye, Primitifs flamands. Corpus. Collections d'Espagne, 2 vols. (Antwerp, 1953-1958), although another painting from the same convent is catalogued, 2: 17. Lavalleye states, 2: 7, that he visited the province of Burgos in 1954.
[2] Letter of 19 July 1967 from Robert Davis, French & Company, to Dale Kinney, assistant to Colin Eisler, in the NGA curatorial files. This letter was made available by Dr. Eisler.
[3] See The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1453.

Associated Names

Exhibition History

2016

  • A Feast for the Senses: Art and Experience in Medieval Europe, Walters Art Museum, Baltimore; The John and Mable Ringling Museum of Art, Sarasota, 2016-2017, no. 42, repro. (shown only in Sarasota in 2017).

Bibliography

1934

  • Garcia Sáinz de Baranda, Julián. Medina de Pomar. Como Lugar Arqueológico y Centro de Turisma de las Merindades de Castilla-Vieja. Alcala de Henares, 1934: 88.

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: 182, no. 80, repro.

  • Frankfurter, Alfred. "Interpreting Masterpieces. Twenty-four Paintings from the Kress Collection." Art News 50 (1951): 101-102, repro. 104, 101.

1952

  • Frankfurter, Alfred M. "Interpreting Masterpieces: Twenty-four Paintings from the Kress Collection." Art News Annual 16 (1952): 101-102, repro. 104

  • Walker, John. "Your National Gallery of Art After 10 Years." National Geographic Magazine 101 no. 1 (January 1952): 76, repro. 100.

1955

  • Shapley, Fern Rusk. "The National Gallery of Art at Washington: Acquisitions 1945-1955." The Studio 150, no. 748 (July 1955): 6.

1957

  • Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 21.

1959

  • Verhaegen, Nicole. "Le Maître de la Légende de sainte Lucie. Précisions sur son oeuvre." Bulletin de l'Institut royal du Patrimoine artistique 2 (1959): 81-82.

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 286, repro.

1960

  • Broadley Hugh T. Flemish Painting in the National Gallery of Art (Booklet no. 5 in Ten Schools of Painting in the National Gallery of Art, Washington, DC). Washington, 1960: 26-27, color repro.

1961

  • Baudouin, Frans. "Der Meister des Bartholomäusaltares und die südniederländische Malerei des 15. Jahrhunderts." Wallraf-Richartz-Jahrbuch 23 (1961): 357-358.

  • Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 61: 68, 218, fig. 61, color fig. 62.

  • Verhaegen, Nicole. "Un important retable du Maître de la Légende de sainte Lucie conservé à Tallinn." Bulletin de l'Institut royal du Patrimoine artistique 4 (1961): 143.

  • Goldblatt, Maurice H. Deux grands maîtres français: le maître de Moulins identifié; Jean Perréal, 40 portraits identifiés. Paris, 1961: 42, 44, fig. 21.

1962

  • Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 58, color repro.

1963

  • Winternitz, Emanuel. "On Angel Concerts in the 15th Century: A Critical Approach to Realism and Symbolism in Sacred Painting." The Musical Quarterly 49 (1963): 263, 459-460, pl. 5. (Reprinted as Musical Instruments and their Symbolism in Western Art New York, 1967: 145-149, pl. 66, 67).

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 106, repro.

1964

  • Kenney, Sylvia. Walter Frye and the Contenance Angloise. New Haven and London, 1964: 153-155, pls. 6-9.

  • Gaya Nuño, Juan Antonio. Pintura europea perdida por España, de van Eyck a Tiépolo. Madrid, 1964: 27, no. 32, pl. X.

1965

  • Chrisman, Jo, and Charles B. Fowler. "Music Performance in a Renaissance Painting." Music Educators' Journal (November/December, 1965): 93-98, pls. I-VIII and cover.

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 87.

  • Eisler, Colin. "The Sittow Assumption." Art News 64 (September, 1965): 35-37, fig. 6.

1966

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:90-91, color repro.

  • Schiller, Gertrud. Ikonographie der christlichen Kunst. 6 vols. Gütersloh, 1966-1990: 4, pt. 2: 170, 258 436, fig. 776.

1967

  • Friedländer, Max J. Early Netherlandish Painting. 14 vols. in 16. Brussels and Leiden, 1967-1976: 6,part 2(1971):115, Add. 277, pl. 257.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 76, repro.

1969

  • Rensch, Roslyn. The Harp. Its History, Technique and Repertoire. London, 1969: 56-57.

1970

  • Meyer-Baer, Kathi. Music of the Spheres and the Dance of Death. Princeton, 1970: 170-171, fig. 82.

  • Cooke, Hereward Lester. The National Gallery of Art in Washington. Munich and Ahrbeck/Hanover, 1970: 64-65, color fig. 29.

1974

  • Walker, John. Self-Portrait with Donors: Confessions of an Art Collector. Boston, 1974: 150, 151, repro.

1975

  • Carapezza, Paolo. "Regina angelorum in musica picta. Walter Frye e il `Maître au Feuillage Brodé.'" Revista italiana di musicologia 10 (1975): 135-136, 152-154, pl. 4.

  • Fischer, Pieter. Music in Paintings of the Low Countries in the 16th and 17th Centuries. Amsterdam, 1975: 8, fig. 9, 10.

  • Winternitz, Emanuel. "Secular Musical Practice in Sacred Art." In The Secular Spirit: Life and Art at the End of the Middle Ages. Exh. cat. The Metropolitan Museum of Art, New York, 1975: 230, repro. 231.

  • European Paintings: An Illustrated Summary Catalogue (National Gallery of Art). Washington, 1975: 226-227, repro.

1976

  • Vos, Dirk de. "Nieuwe toeschrijvingen aan de Meester van de Lucialegende alias de Meester van de Rotterdamse Johannes op Patmos." Oud Holland 90 (1976): 157.

  • Larsen, Erik. Review of Friedländer 1971, vol. 6. In Art Journal 35 (1976): 298.

  • Mirimonde, Albert P. de. "La musique chez les peintres de la fin de l'ancienne école de Bruges." Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen (1976): 42-51, figs. 17-23.

  • Mirimonde, Albert P. de. "Le sablier, la musique et la danse dans les `Noces de Cana' de Paul Véronèse." Gazette des Beaux-Arts 88 (1976): 134.

1977

  • Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 61-63, figs. 54, 55, as The Assumption and Coronation of the Immaculately Conceived Virgin by The Master of the St. Lucy Legend and Assistant, color repro detail.

  • 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

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 52-53, pl. 34.

1980

  • Châtelet, Albert. Early Dutch Painting. New York, 1981: 227, no. 102.

1982

  • Roberts, Ann. "The Master of the Legend of Saint Lucy: A Cataloque and Critical Essay." Ph.D. dissertation, University of Pennsylvania, Philadelphia, 1982: 92-95, 154-159, 185, 190, 194, 202-207, 219-222, cat. no. 7, figs. 13, 14.

1984

  • Walker, John. National Gallery of Art, Washington_. Rev. ed. New York, 1984: 136, no. 133, color repro.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 258, repro.

1986

  • Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1986: 177-183, repro. 178.

1991

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 185, 186, color repro.

1992

  • National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 43, repro.

1998

  • Apostolos-Cappadona, Diane. "Virgin/Virginity." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:905.

  • Pinson, Yona. “Music." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:636.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 52-53, no. 37, color repro.

2011

  • Weniger, Matthias. Sittow, Morros, Juan de Flandes: Drei Maler aus dem Norden am Hof Isabellas der Katholischen. Kiel, 2011: 130, no. N49.

2021

  • Fransen, Bart and Louise Longneaux. "Hans Memling's Altarpiece for the Benedictine Abbey Church of Nájera." In Harmony in Bright Colors: Memling's God the Father with Singing and Music-Making Angels "Restored_. Edited by Lizet Klaassen and Dieter Lampens. Turnhout, 2021: 45, 41, color fig. 2.5.

Inscriptions

on the sheet of music held by the angel to the left of the Virgin's head: A / ve regina celorum mr regis[?]; on the sheet of music held by the angel to the right of the Virgin's head: A / Tenor ve / regina

Wikidata ID

Q20174428

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