The Painting: In a small apsidal chapel, the Virgin Mary tenderly embraces the Christ Child while nursing him. She wears a blue underdress beneath a very pale blue robe and mantle. Her long, curly hair cascades down her shoulders
Toronto, 1955, p. 32, refers to it as a work by Rogier van der Weyden.
This work is a large fragment of one of three altarpieces El Greco was commissioned to paint in 1608 for the church of the Hospital of Saint John the Baptist (also called the Tavera Hospital in honor of its co-founder, Cardinal-Archbishop Juan de Tavera, 1472–1545), just outside the walls of Toledo
Toronto, 2021, p. 312, notes that, while touring Spain, Zuloaga and Rodin discovered
Toronto, 1981, pp. 148–49, under no. 34B, discusses various precedents for the
compares it to Ribot’s "The Mandolin Player" (collection Joey and Toby Tanenbaum, Toronto
The Artist: A successor of Jan van Eyck and Petrus Christus, and a contemporary of Gerard David, Hans Memling was among the most important artists of fifteenth-century Bruges. Although he spent the majority of his career in that thriving city, he was born around 1435–40 in the German town of Klein-Krotzenburg near Seligenstadt, south-east of Frankfurt, Germany
Toronto, 1955, pp 33, 58 n. 13, pl. 23, as by Rogier, painted "perhaps as late as
The Artist: For a biography of Jan van Eyck, see the Heilbrunn Timeline of Art History.The Paintings: In unusually tall, narrow paintings, the Crucifixion and Last Judgment emphasize the narrative features of these well-known biblical themes prophesied in Isaiah and related in the Gospels of Matthew, Mark, Luke, and John for the Crucifixion, and in Deuteronomy and the Book of Revelation for the Last Judgment
Toronto, 1950, pp. 84, 86–87, 137 n. 12, ascribes them to Jan, before 1425.
Circus Sideshow and Seurat’s Career: Circus Sideshow is one of only six major figure paintings Seurat created during his short but influential career. Born and raised in Paris as the son of a customs official, he pursued classical art training, including at least three years at the École des Beaux-Arts, and spent a year (1879–80) in military service in Brest before establishing himself as a professional artist in France’s capital city
Toronto, 1981, p. 240, fig. 86, finds the setting similar to Louis Anquetin’s "Avenue
