About This Artwork

Workshop of Rogier van der Weyden
Netherlandish, c. 1399-1464

Virgin and Child, 1460/65

Oil on panel
38.4 x 28.3 cm (15 1/8 x 11 1/8 in.)
Painted surface: 36.5 x 27 cm (14 3/8 x 10 5/8 in.)

Mr. and Mrs. Martin A. Ryerson Collection, 1933.1052

Combining tenderness and regal authority, Rogier van der Weyden’s influential compositions of the Virgin and Child were repeated and varied by the master, his workshop, and by later Netherlandish painters. Here the Virgin supports the Child on a cushion that appears to rest on the edge of the picture’s frame, as though revealing the infant to the viewer through a window opening. Van der Weyden used elements such as the gems decorating the Virgin’s dress, her pearl-studded circlet, and the thronelike associations of the rich red velvet hanging behind her to characterize her as the queen of heaven. At the same time, by depicting her nurturing her infant, the artist emphasized Christ’s human nature and the Virgin’s role as an intercessor for mankind.

— Permanent collection label

Exhibition, Publication and Ownership Histories

Exhibition History

Bruges, Grande Salle des Halles, Tableaux de l’ancienne école néerlandaise, 1867, no. 18, as unknown master.

Bruges, Hôtel de Gouvernement Provincial, Exposition des primitifs flamands et
d’art ancien, 1902, no. 28.

Art Institute of Chicago, A Century of Progress, 1933, no. 56.

Art Institute of Chicago A Century of Progress, 1934, no. 129.

Art Institute of Chicago, The Christmas Story in Art, 1938–39 (no cat.).

The Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June—14 September 2008, no cat.

Publication History

Henri Hymans, ed., Le Livre des peintres de Carel van Mander: Vie des Peintres flamands, hollandais, et allemands (1604); Traduction, notes et commentaires, vol. 1, Paris, 1884, p. 97.

Georges Hulin de Loo, Exposition de tableaux flamands des XIVe, XVe, et XVIe siècles: Catalogue critique, Ghent, 1902, p. 7, no. 28.

Henri Hymans, “L’exposition de primitifs flamands à Bruges,” Gazette des Beaux-Arts, 3rd. ser., 28 (1902), pp. 194–96 (ill.).

Giorgio Le Brun, “L’esposizione dei primitivi fiamminghi,” Rassegna d’Arte 2 (1902), pp. 146 (ill.), 147.

Franz Dülberg, “Die Ausstellung altniederländischer Meister in Brügge,” Zeitschrift für bildende Kunst, n.s., 14 (1903), p. 55.

Max J. Friedländer, “Die Brügger Leihausstellung von 1902,” Repertorium für Kunstwissenschaft 26 (1903), pp. 70–71.

Max J. Friedländer, Meisterwerke der niederländischen Malerei des XV. und XVI. Jahrhunderts auf der Ausstellung zu Brügge 1902, Munich, 1903, p. 6, pl. 13.

Max J. Friedländer, “Ein Madonnenbild Gerard Davids im Kaiser Friedrich-Museum,” Jahrbuch der königlich preussischen Kunstsammlungen 27 (1906), pp. 144–45, no. 2.

E. Durand-Gréville, “Notes sur les primitifs néerlandais de la National Gallery,” Gazette des Beaux-Arts, 3rd ser., 39 (1908), pp. 60–62.

M[anuel] Gómez-Moreno, “Un Trésor de peintures inédites de XVe siècle à Grenade,” Gazette des Beaux-Arts, 3rd ser., 40 (1908), pp. 303–04.

H. Fierens- Gevaert, La Peinture en Belgique: Les Primitifs flamands, vol. 1, Brussels, 1908, p. 50.

“Collection de M. J. Mathys,” La Chronique des arts et de la curiosité, no. 1 (1912), p. 8.

Paul Lafond, Roger van der Weyden, Brussels and Paris, 1912, p. 86.

A. J. Wauters, “Roger van der Weyden—II,” Burlington Magazine 22 (1912–13), p. 232.

E. Durand-Gréville, “Notes sur les primitifs néerlandais du Louvre,” Gazette des Beaux-Arts, 4th ser., 10 (1913), p. 418.

Friedrich Winkler, Der Meister von Flémalle und Rogier van der Weyden, Strasbourg, 1913, pp. 74–76, 175.

The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 64.

Martin Conway, The Van Eycks and Their Followers, London, 1921, p. 150.

Max J. Friedländer, Von Eyck bis Breugel: Studien zur Geschichte der niederländischen
Malerei, Berlin, 1921, p. 185.

The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 74.

Karl Voll, Die altniederländische Malerei von Jan van Eyck bis Memling: Ein entwicklungsgeschichtlicher Versuch, Leipzig, 1923, pp. 80, 259.

Max J. Friedländer, Die altniederländische Malerei, vol. 2, Berlin, 1924, pp. 34–37, 101, no. 27; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1967, pp. 23–24, 66, no. 27, pl. 49.

G[eorges] Hulin de Loo, “Diptychs by Rogier van der Weyden—II,” Burlington Magazine 44 (1924), p. 186.

Georges Hulin de Loo, “A Mysterious Our Lady by Dieric Bouts,” Burlington Magazine 45 (1924), p. 56.

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 161, no. 2089.

Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVII Century, Loaned to The Art Institute of Chicago,” unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 69–70.

G[eorges] Hulin de Loo and Édouard Michel, Early Flemish Paintings in the Renders Collection at Bruges: Exhibited at the Belgian Exhibition, Burlington House, January, 1927, London, 1927, p. 62.

H. Fierens-Gevaert, Histoire de la peinture flamande des origines à la fin du XVe siècle, vol. 2, Paris and Brussels, 1928, p. 60, fig. 76.

Malcolm Vaughan, “Rogier van der Weydens in America,” International Studio 90, 374 (1928), pp. 42 (ill.), 47.

Jeanne Tombu, “Le Maître de la Légende de Marie-Madeleine,” Gazette des Beaux-Arts, 6th ser., 2 (1929), p. 268.

Jules Destrée, Roger de la Pasture–van der Weyden, Paris and Brussels, 1930, p. 119, pl. 45.

The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 183, no. 43.15.

Frankfurter 1933, pp. 20 (ill.), 60. “The Rearrangement of the Painting Galleries,” Bulletin of the Art Institute of Chicago 27 (1933), p. 114 (cover ill.).

Émile Renders, “La Question Maître de Flémalle—Rogier van der Weyden: La Vierge du Musée du Berlin n’est pas de Rogier,” La Revue de l’art ancien et moderne 63 (1933), p. 58.

Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei in Chicago,’” Pantheon 6 (1933), p. 376. Rich 1933b, p. 11.

Henry S. Francis, “A Madonna and Child by Hans Memling,” Bulletin of the Cleveland Museum of Art 21 (1934), p. 143.

G[eorges] Hulin de Loo, “Van der Weyden,” in Académie Royale des Sciences, des Lettres, et des Beaux-Arts de Belgique, Biographie nationale, vol. 27, Brussels, 1938, cols. 232, 241.

Wolfgang Schöne, Dieric Bouts und seine Schule, Berlin and Leipzig, 1938, p. 61, no. 24.

E. P. Richardson, “The Rest on the Flight into Egypt,” Journal of the Walters Art Gallery 2 (1939), p. 42, fig. 5.

F[riedrich] Winkler, “Rogier van der Weyden”, in 7ieme/Becker, vol. 35, 1942, pp. 472, 475.

An American Correspondent, “Flemish and Dutch Paintings in the Ryerson Collection,” Connoisseur 119 (1947), pp. 45–47 (ill.).

Theodor Musper, Untersuchungen zu Rogier van der Weyden und Jan van Eyck, Stuttgart, 1948, p. 21.

Hermann Beenken, Rogier van der Weyden, Munich, 1951, pp. 77–78, fig. 94.

Erwin Panofsky, Early Netherlandish Painting: Its Origins and Character, Cambridge, Mass., 1953 , pp. 296, 480.

Dieric Bouts, exh. cat., Brussels, Palais des Beaux-Arts, 1957, p. 96, under no. 34.

The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 481–82.

Karl Arndt, review of Colin T. Eisler, New England Museums, in Zeitschrift für Kunstgeschichte 27 (1964), p. 180.

Dirk de Vos, “De Madonna-en-Kindtypologie bij Rogier van der Weyden,” Jahrbuch der Berliner Museen, n.s., 13 (1971), pp. 88, 101, 104–15, 124–25, 130–31, 133, 154, 160, fig. 39.

Martin Davies, Rogier van der Weyden, London, 1972, pp. 203, 205, 210, pl. 83.

The Art Institute of Chicago, 100 Masterpieces, 1978, p. 5, no. 5 (ill.).

Staatliche Museen Preussischer Kulturbesitz, Gemäldegalerie, Catalogue of Paintings, 13th–18th Century, 2nd rev. ed., Berlin and Dahlem, 1978, p. 486.

Dirk de Vos, Stedelijke Musea Brugge: Catalogus schilderijen 15de en 16de eeuw, Bruges, 1979, p. 140.

C[atheline] Périer-d’Ieteren, “Rogier van der Weyden, His Artistic Personality and His Influence on Painting in the XVth Century,” in Rogier van der Weyden—Rogier de la Pasture, exh. cat., Brussels, Musée Communal de Bruxelles, Maison du Roi, 1979, pp. 46 (ill.), 48.

Patrick M. de Winter, “A Book of Hours of Queen Isabel la Católica,” Bulletin of the Cleveland Museum of Art 67 (1981), p. 406, fig. 155.

C[atheline] Périer-d’Ieteren, “L’Annonciation du Louvre et la Vierge de Houston: Sont-elles les oeuvres autographes de Rogier van der Weyden?” Annales d’histoire de l’art et d’archéologie de l’Université Libre de Bruxelles 4 (1982), p. 22.

Larry Silver, “Early Northern European Paintings,” Bulletin of the Saint Louis Art Museum, n.s., 16, 3 (1982), p. 5.

Stephen H. Goddard, The Master of Frankfurt and His Shop, Brussels, 1984, p. 111.

Jellie Dijkstra, “On the Role of Underdrawings and Modeldrawings in the Workshop Production of the Master of Flémalle and Rogier van der Weyden,” in Postprints of the colloquium Le Dessin sous-jacent dans la peinture VII, Louvain-la-Neuve, 1989, pp. 50–51 n. 30.

Dirk de Vos, Hans Memling, exh. cat., Bruges, Groeningemuseum, 1994, p. 160, under no. 41.

Dirk de Vos, Hans Memling: The Complete Works, Antwerp and Ghent, 1994, pp. 330, 339, 364, fig. 55.

Cyriel Stroo and Pascale Syfer-d’Olne, The Flemish Primitives: Catalogue of the Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium, vol. 1, Brussels, 1996, p. 171, vol. 2, 1999, p. 175.

Albert Châtelet, Rogier van der Weyden, Milan, 1999, p. 140 (ill.).

Albert Châtelet, Rogier van der Weyden: Problèmes de la vie et de l’oeuvre, Strasbourg, 1999, p. 165.

Dirk de Vos, Rogier van der Weyden: The Complete Works, Antwerp, 1999, pp. 323, 327, 355–57 (ill.), 360, 378, no. B4A.

Laura D. Gelfand, “Devotion, Imitation, and Social Aspirations: Fifteenth-Century Bruges and a Memling School Madonna and Child,” Cleveland Studies in the History of Art 5 (2000), pp. 8–9, 18, fig 2.

Elisabeth Bruyns, Roger van Schoute, and Hélène Verougstraete, “Dessins et exercices picturaux,” in Restaurateurs ou faussaires des primitifs flamands, exh. cat., Bruges, Groeningemuseum, 2004, p. 128, fig. b.

Ownership History

Vincent Steyaert, Bruges, by 1867 [lent by him to Bruges 1867]. Dr. De Meyer, Bruges, by 1884 [according to Hymans 1884 and 1902]. J. Mathys, Brussels, by 1902 [lent by him to Bruges 1902]; sold, Galerie J. & A. Le Roy Frères, Brussels, Dec. 18, 1911, no. 11, to Steinmeyer & Fils, Paris; sold to Martin A. Ryerson (d. 1932), Chicago, June 23, 1913 [invoice; Art Institute Archives]; on loan to the Art Institute from 1915; bequeathed to the Art Institute, 1933.




View mobile website