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oil paint (paint)30 × 38 Cm
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About the artwork
Artist supplied description.
During the period of transition between the Middle Ages and the Renaissance, the great Netherlandish painters worked with traditional forms to create more human and emotional images for personal religious devotion. Paired images of the mourning Virgin and Christ crowned with thorns, made in the workshop of Dieric Bouts, were an especially successful formulation, judging from the many extant versions. Set against a gold background signifying a timeless, heavenly realm, the Virgin was both an embodiment of compassion and an intercessor for humankind with Christ. No autograph example of this pair by Bouts survives; this exceptionally fine painting of the Virgin was probably made by his son, Dieric Bouts the Younger, who carried on the activity of the workshop after his father’s death.
Artwork metadata
Structured fields synced from connected systems.
| Medium | oil paint (paint) |
| Dimensions | 30 × 38 Cm |
| Tags | Virgin MarywomansadnessreligiousreligionChristianityChristian subjects |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
Wed
28
Jan
note
sold to Joseph Spiridon, Paris, 1889
sold to Joseph Spiridon, Paris, 1889
Wed
28
Jan
note
Martha Wolff, “An Image of Compassion: Dieric Bouts’s Sorrowing Madonna,”
Martha Wolff, “An Image of Compassion: Dieric Bouts’s Sorrowing Madonna,”
Wed
28
Jan
note
by descent to his son, François van der Elst
by descent to his son, François van der Elst
Wed
28
Jan
note
Williams, Paris, possibly by 1871 until 1889 [according to the catalogue of the Spiridon sale
Williams, Paris, possibly by 1871 until 1889 [according to the catalogue of the Spiridon sale
Wed
28
Jan
note
Baron Joseph van der Elst, The Last Flowering of the Middle Ages, Garden City,
Baron Joseph van der Elst, The Last Flowering of the Middle Ages, Garden City,
Wed
28
Jan
note
Valentine Handeriks, "L'Atlier d'Albrecht Bouts et la Production en Série d'Oeuvres de Dévotion Privée," Revue Belge d'Archéologie et d'Historie de l'Art 78
Valentine Handeriks, "L'Atlier d'Albrecht Bouts et la Production en Série d'Oeuvres de Dévotion Privée," Revue Belge d'Archéologie et d'Historie de l'Art 78 (2009): 20,21 fig. 5, 25.
Wed
28
Jan
note
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago (Chicago: Art Instutue, 2008), 146-51, ill.
Wed
28
Jan
note
Francesca Petrucci, “La religiosità lucchese nelle sculture di Matteo Civitali,” in Matteo Civitali e il suo tempo: Pittori, scultori e orafi a Lucca nel tardo Quattrocento, exh. cat., Lucca, Museo Nationale di Villa Guinigi, 2004, p. 148, ...
Francesca Petrucci, “La religiosità lucchese nelle sculture di Matteo Civitali,” in Matteo Civitali e il suo tempo: Pittori, scultori e orafi a Lucca nel tardo Quattrocento, exh. cat., Lucca, Museo Nationale di Villa Guinigi, 2004, p. 148, fig. 7.
Wed
28
Jan
note
“A Conversation between Hans Belting and Bill Viola,” in Bill Viola: The Passions, exh. cat., ed. John Walsh, London, National Gallery, and Los Angeles, J. Paul Getty Museum, 2003, p. 198
“A Conversation between Hans Belting and Bill Viola,” in Bill Viola: The Passions, exh. cat., ed. John Walsh, London, National Gallery, and Los Angeles, J. Paul Getty Museum, 2003, p. 198 (ill. with sketchbook).
Wed
28
Jan
note
Anne Harris, Without Likeness: Paintings by Anne Harris, exh. cat., Brunswick, Maine, Bowdoin College Museum of Art, 2003, p. 25
Anne Harris, Without Likeness: Paintings by Anne Harris, exh. cat., Brunswick, Maine, Bowdoin College Museum of Art, 2003, p. 25 (ill.).
Wed
28
Jan
note
James Elkins, Pictures and Tears: A History of People Who Have Cried in Front of Paintings, New York and London, 2001, pp. 155–58, 162, 165, pl. 5.
James Elkins, Pictures and Tears: A History of People Who Have Cried in Front of Paintings, New York and London, 2001, pp. 155–58, 162, 165, pl. 5.
Wed
28
Jan
note
Marco Livingstone, “Bosch/Bill Viola,” in Encounters: New Art from Old, exh. cat., London, National Gallery, 2000, p. 319, fig. 14.
Marco Livingstone, “Bosch/Bill Viola,” in Encounters: New Art from Old, exh. cat., London, National Gallery, 2000, p. 319, fig. 14.
Wed
28
Jan
note
Frans Baudouin, “Kanttekeningen bij de Catalogus van de Dieric Bouts-Tentoonstelling,” Bulletin des Musées Royaux des Beaux-Arts de Belgique 7
Frans Baudouin, “Kanttekeningen bij de Catalogus van de Dieric Bouts-Tentoonstelling,” Bulletin des Musées Royaux des Beaux-Arts de Belgique 7 (1958), p. 139.
Wed
28
Jan
note
Friedrich Winkler, “Dieric Bouts und Joos van Gent: Ausstellungen in Brüssel und Gent,” Kunstchronik 11
Friedrich Winkler, “Dieric Bouts und Joos van Gent: Ausstellungen in Brüssel und Gent,” Kunstchronik 11 (1958), p. 5.
Wed
28
Jan
exhibition
Brussels, Palais des Beaux-Arts, and Delft, Museum Prinsenhof, Dieric Bouts, 1957–58, no. 24.
Brussels, Palais des Beaux-Arts, and Delft, Museum Prinsenhof, Dieric Bouts, 1957–58, no. 24.
Wed
28
Jan
note
Valentin Denis, Thierry Bouts, Brussels, 1957, pp. 8–9, 21, 24, 36, pl. 12.
Valentin Denis, Thierry Bouts, Brussels, 1957, pp. 8–9, 21, 24, 36, pl. 12.
Wed
28
Jan
note
Paul Fierens, L’Art en Belgique, du moyen âge à nos jours, Brussels, [1956], p. 133.
Paul Fierens, L’Art en Belgique, du moyen âge à nos jours, Brussels, [1956], p. 133.
Wed
28
Jan
note
N.Y., 1956, p. 80, pls. 62, 65.
N.Y., 1956, p. 80, pls. 62, 65.
Wed
28
Jan
exhibition
Antwerp, Koninklijk Museum voor Schone Kunsten, De Madonna in de Kunst, 1954, no. 12.
Antwerp, Koninklijk Museum voor Schone Kunsten, De Madonna in de Kunst, 1954, no. 12.
Wed
28
Jan
note
Martin Davies, The National Gallery, London, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 3, vol. 1, Antwerp, 1953, pp. 33–34.
Martin Davies, The National Gallery, London, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 3, vol. 1, Antwerp, 1953, pp. 33–34.
Wed
28
Jan
note
Édouard Michel, Catalogue raisonné des peintures du moyen-âge, de la renaissance et des temps modernes: Peintures flamandes du XVe et du XVIe siècle, Paris, Musée National du Louvre, 1953, p. 27.
Édouard Michel, Catalogue raisonné des peintures du moyen-âge, de la renaissance et des temps modernes: Peintures flamandes du XVe et du XVIe siècle, Paris, Musée National du Louvre, 1953, p. 27.
Wed
28
Jan
exhibition
New York, Knoedler, Flemish Primitives: An Exhibition Organized by the Belgian Government, 1942, no. 30.
New York, Knoedler, Flemish Primitives: An Exhibition Organized by the Belgian Government, 1942, no. 30.
Wed
28
Jan
note
Wolfgang Schöne, Dieric Bouts und seine Schule, Berlin, 1938, pp. 132–35, no. 19.22, pl. 48c.
Wolfgang Schöne, Dieric Bouts und seine Schule, Berlin, 1938, pp. 132–35, no. 19.22, pl. 48c.
Wed
28
Jan
note
Max J. Friedländer, Die altniederländische Malerei,, vol. 14, Leiden, 1937, p. 91.
Max J. Friedländer, Die altniederländische Malerei,, vol. 14, Leiden, 1937, p. 91.
Wed
28
Jan
exhibition
Paris, Musée de l’Orangerie, De Van Eyck à Bruegel, 1935, no. 5.
Paris, Musée de l’Orangerie, De Van Eyck à Bruegel, 1935, no. 5.
Wed
28
Jan
note
Édouard Michel, L’Art flamand
Édouard Michel, L’Art flamand (de Van Eyck à Bruegel), Paris, 1935, pl. 20.
Wed
28
Jan
exhibition
Brussels, Exposition universelle et internationale, Cinq siècles d’art bruxellois, 1935, no. 75.
Brussels, Exposition universelle et internationale, Cinq siècles d’art bruxellois, 1935, no. 75.
Wed
28
Jan
note
the claim that Williams owned it in 1871, made in Brussels 1935 and Paris 1935, cannot be verified]
the claim that Williams owned it in 1871, made in Brussels 1935 and Paris 1935, cannot be verified]
Wed
28
Jan
note
Ludwig Baldass, “Die Entwicklung des Dirk Bouts,” Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 6
Ludwig Baldass, “Die Entwicklung des Dirk Bouts,” Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 6 (1932), pp. 86, 114, fig. 80.
Wed
28
Jan
note
Johannes Wilde, “L’Examen des tableaux à l’Institut Holzknecht de Vienne,” Mouseion 5, 4
Johannes Wilde, “L’Examen des tableaux à l’Institut Holzknecht de Vienne,” Mouseion 5, 4 (1931), p. 19, pl. V.2 (x-radiograph, reversed).
Thu
28
Jan
note
Catherine Johnston, in Sorrowful Images: Early Netherlandish Devotional Diptychs, exh. cat., Ottawa, National Gallery of Canada, 1999, n.pag.
Catherine Johnston, in Sorrowful Images: Early Netherlandish Devotional Diptychs, exh. cat., Ottawa, National Gallery of Canada, 1999, n.pag.
Wed
28
Jan
note
M[ary] S[prinson] de J[ésus], in From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art, exh. cat., ed. Maryan W. Ainsworth and Keith Christiansen, New York, Metropolitan Museum of Art, 1998, p. 242, under...
M[ary] S[prinson] de J[ésus], in From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art, exh. cat., ed. Maryan W. Ainsworth and Keith Christiansen, New York, Metropolitan Museum of Art, 1998, p. 242, under no. 58.
Wed
28
Jan
note
Peter Klein, “Dendrochronological Findings of the Bouts Group,” in Bouts Studies: Proceedings of the International Colloquium, Leuven, 26–28 November 1998, ed. Bert Cardon et al., Leuven, 2001, pp. 415, 422.
Peter Klein, “Dendrochronological Findings of the Bouts Group,” in Bouts Studies: Proceedings of the International Colloquium, Leuven, 26–28 November 1998, ed. Bert Cardon et al., Leuven, 2001, pp. 415, 422.
Wed
28
Jan
note
Lorne Campbell, The Fifteenth Century Netherlandish Schools, National Gallery Catalogues, London, 1998, pp. 63, 66.
Lorne Campbell, The Fifteenth Century Netherlandish Schools, National Gallery Catalogues, London, 1998, pp. 63, 66.
Sat
28
Jan
note
Peter Klein, “Dendrochronological Findings of the van Eyck–Christus–Bouts Group,” in Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach, ed. Maryan W. Ainsworth, New York, 1995, pp. 157, 161.
Peter Klein, “Dendrochronological Findings of the van Eyck–Christus–Bouts Group,” in Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach, ed. Maryan W. Ainsworth, New York, 1995, pp. 157, 161.
Sat
28
Jan
note
Larry Silver, “Kith and Kin: A Rediscovered Sacred Image by Massys,” in Shop Talk: Studies in Honor of Seymour Slive, Cambridge, Mass., 1995, p. 232.
Larry Silver, “Kith and Kin: A Rediscovered Sacred Image by Massys,” in Shop Talk: Studies in Honor of Seymour Slive, Cambridge, Mass., 1995, p. 232.
Sat
28
Jan
exhibition
Art Institute of Chicago, Spiritual Expressions: Art for Private Contemplation and Public Celebration, November 22, 1995–March 17, 1996 (no cat.).
Art Institute of Chicago, Spiritual Expressions: Art for Private Contemplation and Public Celebration, November 22, 1995–March 17, 1996 (no cat.).
Tue
28
Jan
note
Guy Bauman and Walter A. Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America, Antwerp, 1992 , p. 319, no. 125
Guy Bauman and Walter A. Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America, Antwerp, 1992 , p. 319, no. 125 (ill.).
Tue
28
Jan
note
Maryan W. Ainsworth, “Implications of Revised Attributions in Netherlandish Painting,” Metropolitan Museum Journal 27
Maryan W. Ainsworth, “Implications of Revised Attributions in Netherlandish Painting,” Metropolitan Museum Journal 27 (1992), p. 72.
Mon
28
Jan
note
Peter Klein, “The Differentiation of Originals and Copies of Netherlandish Panel Paintings by Dendrochronology,” in Colloque VIII 1991, pp. 38–39.
Peter Klein, “The Differentiation of Originals and Copies of Netherlandish Panel Paintings by Dendrochronology,” in Colloque VIII 1991, pp. 38–39.
Sun
28
Jan
note
Maryan W. Ainsworth, “Northern Renaissance Drawings and Underdrawings: A Proposed Method of Study,” Master Drawings 27
Maryan W. Ainsworth, “Northern Renaissance Drawings and Underdrawings: A Proposed Method of Study,” Master Drawings 27 (1990), pp. 11, 36 n. 23.
Sat
28
Jan
note
Art Institute of Chicago Museum Studies 15
Art Institute of Chicago Museum Studies 15 (1989), pp. 113–25, 174–75, figs. 1, 12.
Thu
28
Jan
exhibition
Art Institute of Chicago, Recent Acquisitions from the Photography Collection, 1988–89 (no cat.).
Art Institute of Chicago, Recent Acquisitions from the Photography Collection, 1988–89 (no cat.).
Tue
28
Jan
note
sold to the Art Institute through Richard Collins as agent, 1986.
sold to the Art Institute through Richard Collins as agent, 1986.
Tue
28
Jan
note
Art Institute of Chicago Annual Report, 1986– 87, p. 56, pl. 6.
Art Institute of Chicago Annual Report, 1986– 87, p. 56, pl. 6.
Sat
28
Jan
note
on loan to the Cleveland Museum of Art, June 1978–Oct....
on loan to the Cleveland Museum of Art, June 1978–Oct. 1980 [dates of the loan supplied by Mary Suzor, Registrar at the Cleveland Museum of Art]
Fri
28
Jan
note
Jane B. Friedman, “An Iconological Examination of the Half-Length Devotional Portrait Diptych in the Netherlands, 1460–1530,” Ph.D. diss., University of California, Los Angeles, 1977, p. 183 n. 31.
Jane B. Friedman, “An Iconological Examination of the Half-Length Devotional Portrait Diptych in the Netherlands, 1460–1530,” Ph.D. diss., University of California, Los Angeles, 1977, p. 183 n. 31.
Sun
28
Jan
note
Martin Davies, Early Netherlandish School, 3rd rev. ed., National Gallery Catalogues, London, 1968, p. 18.
Martin Davies, Early Netherlandish School, 3rd rev. ed., National Gallery Catalogues, London, 1968, p. 18.
Sun
28
Jan
note
Hélène Adhémar, Le Musée National du Louvre, Paris, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 5, vol. 1, Brussels, 1962, pp. 57–58.
Hélène Adhémar, Le Musée National du Louvre, Paris, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 5, vol. 1, Brussels, 1962, pp. 57–58.
Sat
28
Jan
note
Otto Pächt, “The ‘Avignon Diptych’ and Its Eastern Ancestry,” in Essays in Honor of Erwin Panofsky, ed. Millard Meiss, vol. 1, New York, 1961, p. 404.
Otto Pächt, “The ‘Avignon Diptych’ and Its Eastern Ancestry,” in Essays in Honor of Erwin Panofsky, ed. Millard Meiss, vol. 1, New York, 1961, p. 404.
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