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A woman and winged angel, both with pale, peach skin, are situated in a church interior in this tall, narrow painting. To our left, the angel has long, blond, curly hair, smooth skin, and is smiling. The wings are outlined in royal blue, and they blend from blue to green to yellow to crimson. The angel holds one hand, closer to us, up at chest height with the index finger subtly pointing upward. Holding a long scepter in the other hand, the angel angles their body toward the woman to our right. The angel wears a gold jewel and pearl-encrusted crown and a jeweled long, voluminous robe in scarlet-red and shimmering gold brocade. The neck and along the opening down the front are lined with pearls and jewels. The angel looks toward the woman, who wears a royal-blue dress tied with a red belt at the high waist. Her long brown hair is tied back but one tendril falls over her left shoulder, to our right. She kneels facing us with her raised hands facing outward. Her head is tipped a bit to our left, and she looks up and into the distance to our right with lips slightly parted. She kneels behind a book lying open on a low table. A vase of white lilies and a red cushion lies on the floor in front of the table, close to us. The floor is decorated with people and scenes outlined in black and set into square panels, as if inlaid with wood. The church behind and above the people has a row of tall, narrow arches with bull’s-eye glass windows. A walkway lined with columns runs above the arches, and sunlight comes in through arched windows under the flat wood ceiling. A white dove flies toward the woman on gold lines from a window at the upper left of the painting. Latin words painted in gold capital letters are exchanged between the people. The angel says, “AVE GRA PLENA.” The letters of the woman’s response are painted upside down and backward: “ECCE ANCILLA DNI.”

Jan van Eyck

The Annunciation, c. 1434/1436

West Building, Main Floor — Gallery 39

Medium

oil on canvas transferred from panel

Dimensions

painted surface: 90.2 x 34.1 cm (35 1/2 x 13 7/16 in.)
support: 92.7 x 36.7 cm (36 1/2 x 14 7/16 in.)

framed: 97.31 × 42.23 × 6.99 cm (38 5/16 × 16 5/8 × 2 3/4 in.)

Credit Line

Andrew W. Mellon Collection

Accession Number

1937.1.39

Artists / Makers

Jan van Eyck (artist) Netherlandish, c. 1390 - 1441

Image Use

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Overview

The Annunciation described by Saint Luke is interpreted in terms of actuality in this painting, which was probably once the left wing of a triptych. The forms—even that of the archangel—seem to have weight and volume. Light and shadow play over them in a natural way, and with amazing skill, Jan van Eyck has distinguished between the textures of materials ranging from hard, polished stone to the soft, fragile petals of flowers.

Yet religious symbolism speaks from every detail, expounding the significance of the Annunciation, and the relationship of the Old Testament to the New. The structure of the church can be interpreted symbolically; the dark upper story, with its single, stained–glass window of Jehovah, may refer to the former era of the Old Testament, while the lower part of the building, already illuminated by the "Light of the World" and dominated by transparent, triple windows symbolizing the Trinity, may refer to the Era of Grace of the New Testament. The idea of passing from old to new is further manifested in the transition from the Romanesque round–arched windows of the upper story to the early Gothic pointed arches of the lower zone, and also in the depictions on the floor tiles: David beheading Goliath and Samson destroying the Philistine temple are both Old Testament events in the salvation of the Jewish people which prefigure the salvation of humankind through the coming of Christ.

More information on this painting can be found in the Gallery publication Early Netherlandish Painting, which is available as a free PDF https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/early-netherlandish-painting.pdf

Inscription

top of back wall to the right of furthest left figure: MOYSES F[I]SCELLA; above second figure from left: FI...PHARAONIS; on banderole: O IN VS HEBREORVM HIC EST; on globe in window: ASIA; above third figure from left: Moyses; on banderole: NO ASSVMES NOM DI TVI I VAN[VM]; above fourth figure from left: DNS; middle of back wall on left roundel: ISAAC; on right roundel: JACOB; to the right of Gabriel: AVE GRA PLENA; to the left of Mary, upside down and backwards: ECCE ANCILLA DNI; lower left on floor: A DALIDA VXORE S; lower center: SAVL REX; DAVID; GOLIAS; second row center: SAMSSON MVLTAS GENTES INTERFECIT T 9VIVIO

Provenance

Possibly the Chartreuse de Champmol, near Dijon.[1] Sale, Paris, 1819. (Charles J. Nieuwenhuys, Brussels). William II, King of the Netherlands [d. 1849], in Brussels until 1841, thereafter The Hague;[2] (sale, The Hague, 12 August 1850, no. 1); bought by Bruni for Czar Nicholas I of Russia [1796-1855], Saint Petersburg; Imperial Hermitage Museum, Saint Petersburg;[3] purchased June 1930 through (Matthiesen Gallery, Berlin; P. & D. Colnaghi & Co., London; and M. Knoedler & Co., New York) by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 5 June 1931 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.

[1] C.J. Nieuwenhuys, Description de la Galerie des Tableaux de S.M. le Roi des Pays-Bas, (Brussels, 1843), 2, on the history of the painting says: "D'après les meilleurs renseignements qu'on a pu obtenir, ce tableau faisait suite à deux autres peintures du même maitre; il a été peint pour Philippe le Bon, duc de Bourgogne, et destiné à orner un monument réligieux à Dijon." S. Reinach, "Three Early Panels from the Ducal Residence at Dijon," Burlington Magazine 50 (1927), 239, published a fragmentary description written in 1791 of three paintings kept in the Prior's room, but originally in the ducal chapel of the Chartreuse de Champmol. This reads in part: "Dans la chambre du Prieur on conserve deux tableaux sur bois dans le genre des premiers peintres flamands, qui proviennent des chapelles [sic] des Ducs: ils ont environ 4 pieds de haut. Le premier, d'à peu près un pied de large, est un Annonciation..." Although the dimensions do not match those of the Gallery's painting, the general shape is similar and the tall, narrow format is rather unusual for a Netherlandish Annunciation. Nieuwenhuys' statement that the painting came from Dijon, coupled with the 1791 description, raises the possibility that 1937.1.39 is identical with the painting mentioned as being in the Chartreuse de Champmol. The manuscript is in the Bibliothèque Publique, Dijon, Ms. 88, fol. 53.

[2] Nieuwenhuys 1843 (as per n. 1 above), 2; in 1841 the works of art were transported from Brussels to a gallery built for them in The Hague.

[3] The Getty Provenance Index lists The J. Paul Getty Museum's copy of the auction catalogue as its source for the name of the agent Bruni (who is not listed in the provenance as it is published in the NGA Systematic Catalogue).

Associated Names

Chartreuse de Champmol
Colnaghi & Co., Ltd., P. & D.
Knoedler & Company, M.
Mellon Educational and Charitable Trust, The A.W.
Mellon, Andrew W.
Nicholas I Czar
Nieuwenhuys, Charles J.
Sale, Paris
State Hermitage Museum
The Matthiesen Gallery
William II, King of the Netherlands

Exhibition History

1907: Exposition de la toison d'or et de l'art néerlandais sous les Ducs de Bourgogne, Bruges, 1907, no. 175.

1994: Jan Van Eyck's 'Annunciation', National Gallery of Art, Washington, D.C., 1994, brochure, color repro.

1997: Masterpieces from Museums Around the World: Van Eyck 'Annunciation' from the Collection of the National Gallery of Art (Washington, D. C.), The State Hermitage Museum, St. Petersburg, 1997, no cat.

1997: Van Eyck's 'Annunciation': The Meeting of Heaven and Earth, The Art Institute of Chicago, 1997, brochure, color repro. on cover and fig. 2 (detail).

1998: Recognizing Van Eyck, The National Gallery, London; Philadelphia Museum of Art, 1998, no. 3, repro.

2002: Jan van Eyck, de Vlaamse Primitieven en het Zuiden [Jan van Eyck, Early Netherlandish Painting and Southern Europe], Groeningemuseum, Bruges, 2002, no. 19, fig. 17, repro. (catalogue titled The Age of Van Eyck, 1430-1530: The Mediterranean World and Early Netherlandish Painting).

2012: The Road to Van Eyck, Museum Boijmans Van Beuningen, Rotterdam, 2012-2013.

2015: Dialog der Meisterwerke. English Masterworks in Dialogue: Eminent Guests for the Anniversary, Städel Museum, Frankfurt, 2015-2016.

2018: Truth and Beauty: the Pre-Raphaelites and the Old Masters, Legion of Honor, San Francisco, 2018.

2020: Jan van Eyck: An Optical Revolution, Museum voor Schone Kunsten, Ghent, 2020, no. 1.3, repro.

Technical Summary

The painting was transferred from wood to canvas after it entered the Imperial Hermitage Museum, Leningrad, probably after 1864.[1] The picture has been extensively restored, though it is hard to say whether this was necessitated by the transfer or by previously existing conditions. Areas of craquelure have been repainted and the repaint has discolored; this is most evident in the background. Repaint is also present in portions of the angel's face and hair and in the Virgin's blue robe. It appears that large portions of the top glaze of the Virgin's robe have been lost and the surface has been altered by mechanical or chemical actions. The unsightly appearance of the robe is compounded by the fact that in certain areas the varnish has become opaque and milky. There are small losses in the book and the cushion.

Examination with infrared reflectography discloses underdrawing in several different areas. Parallel hatching and clusters of longer strokes can be seen in the Virgin's robe. Underdrawing exists in the face and hair and a portion of the wing of the angel Gabriel. The hem of Gabriel's robe bears an illegible inscription.[2] What appear to be perspective lines go through the capitals of the triforium at the left, and these indicate slight shifts of perspective. A diamond-shaped grid is underdrawn on the floor in the area depicting David slaying Goliath. There are broad indications of shadows at the edge of Gabriel's robe and thinner lines indicating shadows at the left of the stool.

[1] In the 1850 sales catalogue of the collection of William II the painting is recorded as being on wood, and Waagen 1864, 115, gives the support as wood. The earliest Hermitage catalogue available to me, that of 1870, lists the picture as having been transferred to canvas at the Hermitage.

[2] First observed by Carol Purtle. The author and Molly Faries, communication of August 1984, have noted that the first word is close to the cabalistic AGLA, which appears in the Ghent Altarpiece; see Panofsky 1953, 210-211; Elisabeth Dhanens, Van Eyck: The Ghent Altarpiece (New York, 1973), 75.

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1969: Minott, Charles. "The Theme of the Mérode Altarpiece." Art Bulletin 51 (1969): 267.

1969: Pauwels, H. "Review of Der Genter Altar by Siegfried Thalheimer." The Burlington Magazine 111 (1969): 393.

1969: Peman y Pemartin, Cesar. Juan van Eyck y España. Cadiz, 1969: 43-44, fig. 24.

1970: Cooke, Hereward Lester. The National Gallery of Art in Washington. Munich and Ahrbeck/Hanover, 1970: 60-61, color fig. 27.

1971: Philip, Lotte Brand. The Ghent Altarpiece and the Art of Jan van Eyck. Princeton, 1971: 139, fig. 138.

1971: Strauss, Konrad. "Keramikgefässe, insbesondere Fayencegefässe auf Tafelbildern der deutschen und niederländischen Schule des 15. und 16. Jahrhunderts." Keramik-Freunde der Schweiz. Mitteilungsblatt no. 84 (197l): 22, pl. 3, fig. 1.

1972: Braunfels, Wolfgang. Monasteries of Western Europe. Princeton, 1972: 120, fig. 145.

1972: Kahr, Madlyn. "Delilah." Art Bulletin 54 (1972): 284.

1973: Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 22, [26] repro.

1973: Koller, Manfred. "Der Albrechtsmeister und Conrad Laib. Technologische Beiträge zur Tafelmalerei des `Realistischen Stiles' in Österreich." Österreichische Zeitschrift für Kunst und Denkmalpflege 27 (1973): 52.

1973: Stangel, Andrew Laurie. "The Cartographic Symbolism in Jan van Eyck's Annunciation in the National Gallery of Art, Washington, D.C." Comitatus 4 (1973): 41-48, repro. 44, 45.

1974: Birkmeyer, Karl. Review of The Ghent Altarpiece and the Art of Jan van Eyck by Lotte Brand Philip. In The Art Bulletin 56 (1974): 286.

1974: Meiss, Millard. French Painting in the Time of Jean de Berry: The Limbourgs and their Contemporaries. New York, 1974: 446.

1974: Walker, John. Self-Portrait with Donors: Confessions of an Art Collector. Boston, 1974: 115.

1975: Collier, James Mitchell. "Linear Perspective in Flemish Painting and the Art of Petrus Christus and Dirk Bouts." Ph.D. dissertation, University of Michigan, Ann Arbor, 1975: 62-63, fig. 16.

1975: European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 124, 125, repro.

1975: Walker, John. National Gallery of Art, Washington. New York, 1975: 120, repro. 121.

1975: Ward, John L. "Hidden Symbolism in Jan van Eyck's Annunciations." Art Bulletin 57, no. 2 (June 1975): 196-208, repro.

1976: Sterling, Charles. "Jan van Eyck avant 1432." Revue de l'Art no. 33 (1976): 9, 11.

1977: Williams, Carolyn. "Jan van Eyck's Annunciation: An Iconographical Study." M.A. thesis, University of Delaware, 1977.

1978: Bernardini, Cecilia. Jan van Eyck. Rome, 1978: 12, pl. 20.

1978: Panhans-Bühler, Ursula. Eklektizismus und Originalität im Werk des Petrus Christus. Vienna, 1978: 71, fig. 4.

1979: Châtelet, Albert. Van Eyck. Bologna, 1979: 40, 42, pl. 7.

1979: Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 47-48, pl. 30.

1979: Williams, Robert C. "The Quiet Trade: Russian Art and American Money." The Wilson Quarterly, Vol. 3 (Winter 1979): 165-166, repro.

1980: Dhanens, Elisabeth. Hubert and Jan van Eyck. Antwerp, 1980: 355, 358, fig. 221.

1981: Lyman, Thomas. "Architectural Portraiture and Jan van Eyck's Washington Annunciation." Gesta 20 no. 1 (1981): 263-271, fig. 1.

1981: O'Meara, Carra Ferguson. "Isabelle of Portugal as the Virgin in Jan van Eyck's Washington Annunciation." Gazette des Beaux-Arts 97 (1981): 99-103, figs. 1-2.

1982: Purtle, Carol J. The Marian Paintings of Jan van Eyck. Princeton, 1982: 40-58, 60, 75, figs. 26, 28-29.

1983: Giltay, J. Review of Hubert and Jan van Eyck by Elisabeth Dhanens. In Simiolus 13 (1983): 56-57.

1984: Lane, Barbara G. The Altar and the Altarpiece: Sacramental Themes in Early Netherlandish Painting. New York, 1984: 45-47, fig. 28.

1984: Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 120, no. 104, cover, color repro.

1985: European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 150, repro.

1985: Snyder, James E. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350-1575. New York, 1985: 103-104, fig. 103.

1986: Hand, John Oliver and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington,1986: 76-86, color repro. 77.

1991: Harbison, Craig. Jan van Eyck: The Play of Realism. Seattle, 1991: 174-175, fig. 114. (Second edition, London, 2012: 192-193, 233-234, color fig. 108.)

1991: Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 88, 90, 91, color repro.

1992: Hall, Nicholas H. J., ed. Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi, New York. New York, 1992: 133.

1992: National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 40, color repro.

1993: Adams, Laurie Schneider. Art and Psychoanalysis. New York, 1993: 228-230, fig. 83

1993: "National Gallery of Art, Washington." La Muse: Bulletin of the Tokyo Fuki Art Museum 4, no. 27 (1993): 26, repro.

1994: Hand, John Oliver. Jan van Eyck's 'Annunication'. Exh. cat. National Gallery of Art, Washington, 1994.

1995: Held, Heinz-Georg. Engel: Geschichte eines Bildmotivs. Cologne, 1995: 150-153, color fig. 6.

1995: Stokstad, Marilyn. Art History. New York, 1995: 18, fig. 5.

1996: Herzner, Volker. Jan van Eyck und der Genter Altar. Worms, 1996: 116, 122 note 31, 129 note 56, 150, 243, fig. 40.

1996: Huizinga, Johan. The Autumn of the Middle Ages. Translated by Rodney J. Payton and Ulrich Mammitzsch. Chicago, 1996: 335-336, pl. 29.

1996: Hunter, Sam and Melissa de Medeiros. The Rise of the Art World in America: Knoedler at 150. Exh. cat. M. Knoedler & Company, New York, 1996: 13.

1996: Landi, Ann. "150 Years of Helping Shape a Nation's Taste." New York Times (December 1, 1996): 46.

1996: Wallis, Stephen. "Sketchbook: Knoedler Turns 150." Art & Antiques 19, no. 10 (November 1996): 18, color repro.

1997: Butler, Marigene H. “An Investigation of the Philadelphia “Saint Francis Receiving the Stigmata.” In Jan van Eyck: Two Paintings of Saint Francis Receiving the Stigmata, edited by Joseph J. Rishel. Exh. cat. Philadelphia, 1997: 40-41, 44 nt. 1, 45, nt. 22, 46, nt. 23, color fig. 57.

1997: Kehoe, Thomas J., Harold E. Damerow, Jose E. Duvall. Exploring Western Civilization, to 1648: A Workbook for the Active Student. Dubuque, 1997: 431, fig. 5.5.

1997: Richler, Martha. National Gallery of Art, Washington: A World of Art. London, 1997: 40-41, color fig. 21.

1997: Shaw-Eagle, Joanna. "Christ's Birth Gave Birth to Astounding Images: Gallery Glitters with holy Masterpieces." Washington Times (December 21, 1997): D1, repro.

1998: Ainsworth, Maryan W. "Religious Painting from about 1420 to 1500: In the Eye of the Beholder." In From Van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art. Edited by Maryan W. Ainsworth and Keith Christiansen. Exh. cat. Metropolitan Museum of Art. New York, 1998: 79, 81-82, fig. 44.

1998: Apostolos-Cappadona, Diane. "Virgin/Virginity." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Chicago, 1998: 2:905.

1998: McLellan, Diana. "Really Big Shows." Washingtonian 33, no. 11 (August 1998): 70.

1999: Stokstad, Marilyn. Art History. 2 vols. Revised ed. New York, 1999: 2:18, fig. 5.

1999: Toman, Rolf, ed. Art of Gothic: Architecture, Sculpture, Painting. Translated by Christian von Arnim. Cologne, 1999: 407, color repro.

1999: Vogel, Carol. "Finding Fashion and History on th Edges: Museums Look Again at Their Picture Frames." New York Times (September 2, 1999): C1, C3.

2000: Il'in, Nikolas, and Natalia Semënova. Prodannye sokrovishcha Rossii [Sold Treasures of Russia]. Moscow, 2000: 180-181, repro.

2001: Holm, Kerstin. "Kaum enteignet, schon verscherbelt." Frankfurter Allgemeine Zeitung no. 23 (27 January 2001): 21.

2001: Jong, Martien J.G. de. Kerstfeest in de Middeleeuwen. Leuven, 2001: 80, 89, color fig. 43.

2002: Borchert, Till-Holger. "The Age of Van Eyck: The Mediterranean World and Early Netherlandish Painting 1430-1530. Exh. cat. Groeningemuseum, Bruges. London, 2002: 22, 67, fig. 17.

2002: Kaufman, John Edward. "Show of Netherlandish Art Another Charm of Brugge." Washington Times (June 15, 2002): 52.

2002: Prochno, Renate. Die Kartause von Champmol: Grablege der burgundischen Herzöge 1364-1477. Berlin, 2002: 207-209, fig. 107.

2004: Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 38-41, no. 28, color repros.

2005: Snyder, James E. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. Revised by Larry Silver and Henry Luttikhuizen. Upper Saddle River, 2005: 99-100, fig. 5.16.

2005: Stokstad, Marilyn. Art History. Rev. 2nd ed. Upper Saddle River, 2005: 593, color fig. 17-12.

2006: Carl, Doris. Benedetto da Maiano: A Florentine Sculptor at the Threshold of the High Renaissance. 2 vols. Turnhout, Belgium, 2006: 347

2006: Purtle, Carol J. "The Context of Van Eyck's Approach to the Thyssen Annunciation Diptych." In Hand, John Oliver and Ron Spronk, eds. Essays in Context: Unfolding the Netherlandish Diptych. Cambridge and New Haven, 2006: 76-77, fig. 4

2008: Borchert, Till-Holger. Van Eyck. Cologne, 2008: 49-51, color repro.

2008: Lindquist, Sherry C.M. Agency, Visuality and Society at the Chartreuse de Champmol. Aldershot, 2008: 78-79 nt.203.

2008: Nash, Susie. Northern Renaissance Art. Oxford History of Art. Oxford, 2008: 205.

2009: Hudson, Hugh. Jan van Eyck: The Ince Hall Virgin and Child and the Scientific Examination of Early Netherlandish Painting. Saarbrücken, 2009: 94, 125, 156, 160, 170, 210, 265.

2009: Odom, Anne, and Wendy R. Salmond, eds. Treasures into Tractors: The Selling of Russia's Cultural Heritage, 1918-1938. Washington, 2009: 91, 104 n. 50-51,130 fig. 5.8, 131, fig. 5.9, 135 n. 62.

2010: Nagel, Alexander and Christopher Wood. Anachronic Renaissance. Brooklyn, 2010: 155-156, 158, 337, fig. 14.4.

2011: Fiedler, Susanne, and Torsten Knuth. "Vexierbilder einer Biographie: Dr. Heinz Mansfeld (1899-1959)." Mecklenburgische Jahrbücher 126 (2011):307.

2011: Kemperdick, Stephan. “Saints with Shadows: Konrad Witz and Netherlandish Painting.” In Konrad Witz. Exh. cat. Kunstmuseum Basel, 2011. Ostfildern, 2011: 41, color fig. 19.

2012: Jack, Belinda. The Woman Reader. New Haven, 2012: 110, fig. 27.

2012: Uspenski, Boris. "The Composition of the Ghent Altarpiece (Divine and Human Perspectives)." In Vision and Material: Interaction Between Art and Science in Jan van Eyck's Time. Brussels, 2012: 198-199, color fig. 10.6.

2013: Gifford, E. Melanie, Catherine A. Metzger, and John K. Delaney. "Jan van Eyck's Washington Annunciation: Painting Materials and Techiques." and David Bull, "The Cleaning and Restoration of Jan van Eyck's Washington Annunciation." Facture: conservation, science, art history 1 (2013): 128-153, figs. 1-17a, b, 19a-k, 156-166, figs. 1-8.

2013: Harris, Neil. Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience. Chicago and London, 2013: 2, 465.

2013: König, Eberhard. “Wie die Welt in die Bilder kam.” Weltkunst 68 (January 2013): 44, 47, 49, color repro.

2013: Semyonova, Natalya, and Nicolas V. Iljine, eds. Selling Russia's Treasures: The Soviet Trade in Nationalized Art 1917-1938. New York and London, 2013: 138, 139, 170, 206, repro.

2014: Lavin, Marilyn Aronberg. An Allegory of Divine Love: the Netherlandish Blockbook Canticum canticorum. Early Modern Catholicism and the Visual Arts 10. Philadelphia, 2014): 55, 56, color fig. 42.

2016: Capron, Emma. "Collecting Jan van Eyck from Europe to America." In The Charterhouse of Bruges: Jan van Eyck, Petrus Christus, and Jan Vos. Exh. cat. Frick Collection 2016. New York, 2016: 31, 111, 114, 116, 129, 130 note 31; 109 color fig. 68; 106 color repro.

2016: Farago, Jason. "A Closer Look, From Jesus to Judgment." New York Times 165, no. 56,133 (February 5, 2016): C23.

2016: Jaques, Susan. The Empress of Art: Catherine the Great and the Transformation of Russia. New York, 2016: 398.

2016: National Gallery of Art. Highlights from the National Gallery of Art, Washington. Washington, 2016: repro. 44, 45.

2016: Warner-Johnson, Tim, and Jeremy Howard, eds. Colnaghi: Past, Present and Future: An Anthology. London, 2016: 50, color plate 2.

2018: Fine Arts Museums of San Francisco. Truth & Beauty: A Pictorial. Pictoria series. San Francisco, 2018: 4, 16-17, color fig. 18, back cover color detail. ["Adopted from the exhibition catalog."]

2019: Saracino, Francesco. "Meditazioni su un cuscino di Jan van Eyck." Iconographica XVIII (2019): 72-81, figs. 1, 2 (det).

2021: Adams, Laurie Schneider. "Semiotics I, Structuralism and Post-Structuralism." In The Methodologies of Art: An Introduction. 2nd ed. London, 2021: 162, 163, fig. 66.

2021: Huizinga, Johan. Autumntide of the Middle Ages: A Study of Forms of Life and Thought of the Fourteenth and Fifteenth Centuries in France and the Low Countries. Leiden, 2021: 419-420, color fig. 20.7.

2022: Bernhard Ridderbos, "Choices and Intentions in the Mérode Altarpiece," Journal of Historians of Netherlandish Art 14, no. 2 (Winter 2022): fig. 11. DOI: 10.5092/jhna.2022.14.1.2

2023: Acres, Alfred. Jan van Eyck within His Art. London, 2023: 53-54, 57, fig. 18 (detail), 58, 63, 73-74, 92, fig. 29, 94-96, 97, fig. 30 (detail), 100, 105, 107, 152.