Saint Luke Drawing the Virgin

Saint Luke Drawing the Virgin is a large 15th-century

oil and tempera on oak panel painting, usually dated be-
tween 1435 and 1440, attributed to the Early Nether-
landish painter Rogier van der Weyden. Housed in the
Museum of Fine Arts, Boston, it shows Luke the Evan-
gelist, patron saint of artists, sketching the Virgin Mary as
she nurses the Child Jesus. The gures are positioned in
a bourgeois interior which leads out towards a courtyard,
river, town and landscape. The enclosed garden, illusion-
istic carvings of Adam and Eve on the arms of Marys
throne, and attributes of St Luke are amongst the paint-
ings many iconographic symbols.
Van der Weyden was strongly inuenced by Jan van Eyck,
and the Madonna is very similar to the earlier Madonna of
Chancellor Rolin, usually dated to around 1434, with sig-
nicant dierences. The gures positioning and colouri-
sation are reversed, and Luke takes centre stage; his face
is accepted as Van der Weydens self-portrait. Three near
contemporary versions are in the Hermitage Museum,
Saint Petersburg, the Alte Pinakothek, Munich, and the
Groeningemuseum, Bruges.[2] The Boston panel is widely
considered the original from underdrawings that are both
heavily reworked and absent in other versions. It is in
relatively poor condition, having suered considerable
damage, which remains despite extensive restoration and Copy after Rogier van der Weyden, Saint Luke drawing the Vir-
cleaning. gin (detail), c. 14911510. Groeningemuseum, Bruges

The paintings historical signicance rests both on the

skill behind the design and its merging of earthly and di-
vine realms. By positioning himself in the same space
as the Madonna, and showing a painter in the act of por-
trayal, Van der Weyden brings to the fore the role of artis-
tic creativity in 15th-century society. The panel became
widely inuential with near copies by the Master of the
Legend of Saint Ursula and Hugo van der Goes.
1 Commission
There are no surviving contemporary archival documents
for Rogier van der Weydens Saint Luke Drawing the Vir-
gin, but art historians agree that it was almost certainly
painted for the Brussels painters guild, for their chapel
at the Cathedral of St. Michael and St. Gudula,[2] where
Van der Weyden is buried.[1] It may have been commis-
sioned to celebrate the artists appointment as city painter
for Brussels.[2] Luke the Evangelist was thought to have
been a portraitist, and Northern European painters guilds
were considered to be under his protection.[3]
In the 15th century, images of Luke painting the Vir-
gin were more commonly found in Northern rather than
Italian art.[4] Luke was credited with painting the orig-
inal of the immensely popular Italo-Byzantine Cambrai
Madonna, to which numerous miracles were attributed.[5]
The original of that work was taken to France from Rome
in 1440, and within four years at least 15 high-quality
copies had been made.[6] It was regarded as an example
of St Lukes skill, and contemporary painters strove to
emulate him in their depictions of Mary. Popular belief
held that the essence of the Virgin was captured in Lukes
portrait of her.[7]
2 After Van Eyck
Van der Weyden closely follows Van Eycks c. 1435
Madonna of Chancellor Rolin, though there are signif-
icant dierences. The landscape in the Van der Wey-
den is less detailed, and its top gives less of an illusion
of openness than Van Eycks.[8] The most obvious sim-
ilarity is the two gures standing at a bridge, who may

1
2 3 DESCRIPTION

Detail showing folds in Marys dress

coal black, ultramarine, lead-tin-yellow, verdigris and

red lake.[14] There has been some discolouration some
Jan van Eyck, Madonna of Chancellor Rolin, c. 1435. Louvre, greens are now brown, including pigments used to depict
Paris grass in the background.[15]
Mary sits under a brocade canopy or cloth of honour,
not carry specic identities;[9] those in the Van der Wey-painted in brown hues which have since discoloured to
den are sometimes identied as Joachim and Anne, the dark green.[16] The canopy hangs down to a wooden
Virgins parents.[10] In Van Eycks painting the right-hand
bench attached to the wall behind her.[17] Marys hair is
gure wears a red turban, a motif widely accepted as that loose and she wears an embroidered dress lined with fur.
artists indicator of a self-portrait; similar images can be
Around her neck is a light veil, and she is shown in the
found on the London Portrait of a Man and the reection act of nursing.[18] Her dress is a centrepiece of the panel,
in the knights shield in the Virgin and Child with Canon composed of a variety of blues overlaid with lead white
van der Paele, Bruges.[11] and deep blue lapis lazuli highlights. The inner parts of
In the Van der Weyden, the positioning of the main g- her robe contain violet[15]coloured fabrics, lined with grey-
ures is reversed from the Van Eyck; the Virgin appears ish blues and purples.
to the left,[8] a positioning that became predominate in Luke is positioned on a green cushion, between the heav-
later Netherlandish diptychs. The colours in this work enly gure and the small study behind him. He is either
are warmer than those in the Van Eyck. Van der Weyden rising from a kneeling position or about to genuect. His
switches the colours of their costumes; Luke is dressed eyes x on her attentively,[17] and he seems near hyp-
in red or scarlet, Mary in the more typical warm blues. notised. Jesus is similarly transxed.[19] Hall describes
The Virgin type has further been changed, here she is de- Lukes hands as oating before him, holding the tools
picted as a Maria Lactans (Nursing Madonna). This is with the same delicacy that an angel might hold a lily
one of the standard depictions of her, dierent from the or sceptre". Mary has turned her face so that he can de-
Hodegetria (Our Lady of the Way, or She who points the pict her in near full prole, a rare honour, while Lukes
way) Virgin type most usually associated with Byzantine kneeling position is closely analogous to that of a typical
and Northern 15th-century depictions of St Luke. This donor portrait in the presence of the Virgin.[19]
depiction of Marys motherhood stresses the redemp-
Luke is beardless and in his early 40s, close to Van der
tion of mankind by Christ as human ... [and] spiritual
Weydens age in the mid-1430s.[20] His face is not ide-
nourishing.[12]
alised; he is middle-aged with light stubble and grey-
ing hair.[18] The room behind him contains his attributes
including an ox and an open book representing his
3 Description Gospel.[21] He is painted with more naturalism than
Mary; his eyes in particular are more realistically drawn.
The panel comprises four individual pieces of oak, Christs conform to the then idealised form, as simple
painted over a chalk ground bound with glue.[13] The crescents. Marys are formed from curved lines typical
preparation wood is dated to around 1410, giving an esti- of late Gothic ideals of feminine beauty.[22] Compared
mated date for the Van der Weyden in the mid-1430s.[2] to contemporary paintings of this type, the work is un-
The dominant pigments are lead white (often used in usually free of inscriptions; they appear only on items in
the panel to highlight blue and green passages), char- Lukes study, dimly perceived on his right: on a book, on
 3

Detail of Saint Luke; probable Van der Weyden self-portrait Jan van Eyck, Madonna of Chancellor Rolin (detail)

friend, who here is female, while the left-hand gure in

an ink bottle, and on a scroll emanating from the mouth the earlier panel might represent a tribute to the artists
of his ox, beneath the small desk.[23] brother Hubert who had died in the 1420s.[31] A red
[24] headdress was an indicator of self-portraiture for Van
The scene is set within a rather narrow interior space,
with a barrel vault ceiling, patterned oor tilings, and Eyck.[11] As in the Van Eyck, the gures act as exam-
stained glass windows. The outer wall opens to the ples of repoussoir,[32] in that they draw our attention to
midground, with a patch of grass and plants,[8] and has the pictures underlying theme the paintings ability to
a view of a river or inlet.[25] Art historian Jerey Chipps visualize the innity of the world in the landscape. The
Smith notes how the transition between the grounds es- painting may allude to the concept of paragone; the man
tablishes a complex spatial space in which [Van der Wey- points to the landscape, perhaps highlighting the ability of
den] achieved an almost seamless movement from the painting, unlike sculpture, to supply its foreground with
elaborate architecture of the main room to the garden and background.[33]
parapet of the middle ground to the urban and rural land- Examination of the underdrawing shows that the artist
scape behind.[21] intended a Van Eyckian angel crowning the Virgin, but
Two gures in the mid-ground stand at a battlement wall this was omitted from the nal painting.[34] He heavily
overlooking the water, their backs turned against the reworked the positions of the three main gures even
viewer, the male pointing outwards.[26] They are framed towards the end of completion.[35] The draperies of the
by columns, and are looking towards the detailed city and mantles were at rst larger.[36] Christs body at rst
landscape in the background.[27] The gures seem pre- faced Luke, but was later tilted in the direction of his
occupied with looking, which Carol Purtle believes, to mother. The mother and child were brought closer to-
Van der Weyden, was a form of devotionalism; through gether. Lukes head was at rst level with the Virgins, but
meditating on an image, the beholder experienced vi- in the nal painting is raised slightly above.[37] The dier-
sions of transports of ecstasy.[28] Technical analysis ences extend beyond those in the foreground. The forti-
shows that both gures were heavily reworked both in the cations of the inner courtyard have been enlarged, while
underdrawing and the nal painting;[29] the hood of the the two gures looking out over the river were smaller,
gure on the right was originally red, but over-painted as the river itself narrower.[36]
black, amongst many other dierences.[30]
The positioning of these gures closely resembles that
of two persons depicted in the Van Eyck panel. In that 4 Self-portrait
painting the right-hand gure turns to face his compan-
ion, gesturing at him to look outwards. In the Van der Lukes face is widely considered to be a Van der Weyden
Weyden, the equivalent gure seems protective of his self-portrait. He may have wanted to associate himself
4 4 SELF-PORTRAIT

After Van der Weyden, The Justice of Trajan and Herkinbald,

detail from a lost painting, tapestry copy. This head is considered
another probable self-portrait.[40]

self-portraits in their own depictions of Luke.[43]

What biographical details are available place the artist as
a devout Catholic, deeply inuenced by mystical and de-
votional texts, familiar with 12th- and 13th-century fe-
male theologians such as Mechthild of Magdeburg and
Hildegard of Bingen.[44] They believed that contemplat-
ing devotional images whilst meditating might lead to a
vision or a state of ecstasy. It is possible from these teach-
ings that Van der Weyden developed a set of devotional
motifs such as The Magdalen Reading. The importance
of St Luke in Christian art is underscored in St Luke Paint-
Detail of gures in the midground ing the Virgin, while arming the role of art within the
context of meditation and contemplation.[45]
both with a saint and with the founder of painting. This The self-portraiture achieves a number of purposes. It
is reinforced by the fact that Luke is shown drawing in acts as a tribute to his own ability, as a measure of his
silverpoint on white paper; an extremely dicult medium skill against Van Eyck, and as a case for the legitimacy of
that demands high concentration, and is normally used the craft of painting.[6] By portraying himself as St Luke
only for preparation.[38] The artist is boldly emphasising in the act of drawing rather than painting, De Vries be-
his ability and skill with preparatory sketches; a single lieves Van der Weyden reveals an artistic consciousness
surviving silverpoint drawing attributed to Van der Wey- by commenting upon artistic traditions and by doing so
den, now in the Louvre, contains a female head very sim- presents a visual argument for the role and function of
ilar to Marys in the Boston panel.[39] the artist and his art, one at that time still predominantly
[12]
Van der Weyden appears intelligent and handsome, but religiously dened.
weather-worn.[41] He inserted a self-portrait into one Smith describes the panel as an exposition of the art
other work, the lost Justice of Trajan and Herkinbald, of painting, observing that Van der Weyden records the
known through a tapestry copy in the Historical Museum essential skills any successful artist should master while
of Bern.[42] Later Northern artists followed his lead, using claiming to be an heir to St Luke.[21] He works in silver-

point and thus is unencumbered with the paraphernalia
of painting; an easel, seat or other items which might clut-
ter the composition, or more importantly place a physical
barrier between the divine and earthly realms.[46]
5 Iconography
The painting is rich in both actual and implied
iconography. Van der Weyden presents Mary as the
Maria Lactans virgin type, a symbol of Mother Church
especially popular at times of plague or famine, the impli-
cation being that she cares for all and no one will go hun-
gry. This notion ties in with Lukes dual roles of physician
(and thus healer) and artist.[47] Van der Weyden had ear-
lier portrayed Mary breast-feeding in his Virgin and Child
Enthroned, which depicts equally detailed carvings carry-
ing signicance, but is reduced in size and in its cast of
characters, and omits the act of beholding.[48]
Virgin and Child Enthroned, c. 14301432. Museo Thyssen-
Bornemisza
The architecture of the enclosed space suggests a church.
The Virgin sits beneath a canopy, perhaps symbolic of
the sacred space, and the spatial separation between the
celebrant and the congregation, usually by a rood screen.
The small room to the right could symbolize the vest-
ing chamber.[48] The arms of her throne are painted as
carved with gures including Adam, Eve and the serpent
before the fall from Paradise.[27] The room faces to-
wards an enclosed garden, another emblem of the Vir-
5
gins chastity.[8] Though Mary is positioned by a throne
and under a canopy, indicating her role as Queen of
Heaven, she sits on the step, an indication of her humil-
ity.[22][49]
The Virgin occupies an earthly space as opposed to a sa-
cred one, but remains aloof. This approach is emphasised
by secondary midground gures who are out in the open
air, while the main gures are positioned in an elevated
room containing a throne, grand arches and wood carv-
ings. Van der Weydens setting is less articial than Van
Eycks; here Luke and Mary face each other as equals,
rather than in Van Eycks painting where, as Blum de-
scribes a divinity and a mortal face one another. Van
der Weyden omits the winged angel holding a crown hov-
ering above the Virgin; the gure was included in the un-
derdrawings, but eventually abandoned. The landscape
is more secular than Van Eycks, which is dominated by
church spires.[50]
In the late 13th century, many of the newly emerg-
ing painters guilds were nominating Luke as their pa-
tron saint.[17] The Van der Weyden panel is among the
rst known depictions of St Luke painting the Virgin in
Northern Renaissance art,[51] along with a similar work,
a lost triptych panel by Robert Campin.[22] Van der Wey-
den presents a humanised Virgin and Child, as suggested
by the realistic contemporary surroundings,[50] the lack
of halos, and the intimate spatial construction. Yet he in-
fuses the panel with extensive religious iconography.[22]
6 Attribution and dating
During the 19th century the painting was at times as-
sociated with Quentin Massys and Hugo van der Goes.
In the early 1930s, based on x-radiographs, art historian
Alan Burroughs attributed the Boston painting to Dieric
Bouts under the supervision of Van der Weyden.[52]
He later revised his opinion to Van der Weyden, but
art historians remained unsure as to which of the four
panel versions was the original or prime version and
which were copies.[10] Infrared reectography has re-
vealed underdrawing in the Boston version which con-
tains heavy redrafting and re-working. This is absent in
the other versions, strong evidence the Boston panel is
prime.[53] The approach to the underdrawing is very sim-
ilar to the paintings where attribution to Van der Wey-
den is established, such as the Descent from the Cross in
Madrid, and the Miraores Altarpiece in Berlin. They
are built up with brush and ink, with the most attention
given to the outlines of the gures and draperies. Hatch-
ing is used to indicate areas of deep shadow. In each,
the underdrawing is a working sketch, subject to con-
stant revisions, which continued even after painting had
begun.[54] The drawing of Mary is similar to the Louvres
silverpoint drawing of 1464 attributed to his circle. Both
are of a type with which Van der Weyden was preoccu-
pied, showing an ongoing renement and emphasis on
6 7 PROVENANCE AND CONSERVATION

[Marys] youthfulness ... [which is] traceable throughout and all this in Bruges, under Jans very eyes.[55]
his work.[39] Held, as a lone voice and writing in 1955, argues for a
date between 1440 and 1443, seeing the work as more
advanced than other paintings by the artist from the
mid-1430s, and believes it contains considerable dier-
ences when compared to other early works, especially
the Annunciation Triptych of c. 1434. He further ob-
serves that although the painting became highly inuen-
tial, copies did not appear until the mid-century.[56]
Dendrochronological examination of the growth rings
in the panels wood suggests that the timber was felled
around 1410.[2] In the 15th century, wood was typically
stored for around 20 years before use in panel painting,
Hermitage giving an earliest date in the mid- to late 1430s. Analy-
Museum, St. Petersburg, c. 1440 (cropped) sis of the Munich version places it in the 1480s, around
20 years after Van der Weydens death.[57] The panel in
Bruges is in the best condition and of exceptional quality,
but dates from c. 14911510.[36]

7 Provenance and conservation

Alte Pinakothek, Munich.

c. 1450

Groeningemuseum, Bruges

Art historians gradually revised their dating from 1450
to the currently accepted 143540, earlier in the artists
career.[2] This estimate is based on three factors; the dat-
ing of the Rolin Madonna, Van der Weydens opportu-
nity of viewing that panel, and his ability to produce his
own work after such a viewing. He is known to have vis-
ited Brussels where Van Eyck kept his studio in 1432
and again 1435. Erwin Panofsky suggested c. 1434 as
the earliest possible date, and that the Rolin panel was
completed in 1433 or 1434. Julius Held was sceptical of
this early dating, noting that if true we are forced to as-
sume that within one year of Jans work Rogier received a
commission which gave him an opportunity to adopt Jans
compositional pattern while subjecting it at the same time
to a very thorough and highly personal transformation,
October 1914 photograph of the panel in its old frame. Museum
of Fine Arts, Boston
Despite the eminence of the painting and its many copies,
little is known of its provenance before the 19th century.
It seems likely that it is the painting Albrecht Drer men-
tions in his diary recollection of his visit to the Low Coun-
tries in 1520.[58] It is probably the same work recorded
in an 1574 inventory of Philip II, kept at the Escorial.[1]
The painting is recorded in 1835 in the collection of Don
Infante Sebastin Gabriel Borbn y Braganza, a grand-
nephew of Charles III of Spain and himself an artist.
Gabriels inventory notes described the panel in detail,
attributed it to Lucas van Leyden, and suggested an ear-
lier restoration.[10] It was donated to the Museum of Fine
 7

Arts in 1893 by Henry Lee Higginson after his purchase

at a New York auction in 1889.[1] Photographs from 1914
show it in an ornate, decorative frame which is probably
the same as in Gabriels 1835 description.[59]
The panel is in poor condition, with substantial
damage[9] to its frame and surface, despite at least four
restorations.[59] The earliest recorded restoration was in
1893, the year it was acquired by the Museum of Fine
Arts, but there are no surviving records of the treatment.
In the early 1930s, the museums curator of paintings,
Philip Henry, described the painting as an original Van
der Weyden, but gave the opinion that its poor condi-
tion was hindering wider acceptance of the attribution.
On this basis, it was sent to Germany in 1932 to un-
dergo conservation. The eort was led by the restorer
Helmut Ruhemann, who described the panel as struc-
turally sound, and removed layers of discoloured varnish
and crude overpainting, while lling in some areas of
paint loss.[59] Ruhemann believed he had found evidence
of at least two major 19th-century restorations, one of
which was probably that carried out in Boston in 1893.
Ruhemanns cleaning and restoration was widely praised,
and contributed to the acceptance of the panel as the orig-
inal by Van der Weyden.[60]
The MFA undertook a third restoration in 1943, when
some yellowing of the glaze was repaired.[61] Most re- Master of the Legend of St. Ursula, Virgin and Child, late 15th
cently, the painting was cleaned in 1980 when small century
amounts of grime were removed, some losses were lled
in, and a light coat of varnish was applied.[61]
tans type for his Virgin and Child, now in New York.
Other artists producing works directly inuenced by Van
der Weydens portrait include Hugo van der Goes, Dieric
8 Inuence Bouts, Derick Baegert and Jan Gossaert. Some artists
copied Van der Weyden by placing their own likeness in
If the painting was in the Guild of Saint Lukes chapel place of St Luke, notably Simon Marmion and Maarten
in Brussels, then many near-contemporary artists would van Heemskerck.[66] By representing themselves as Luke,
have been able to view it. Van der Weydens interpreta- artists implied a depiction of the Virgin based on rst-
tion was hugely inuential during the mid-15th and early hand contact and thus giving her true likeness.[67]
16th centuries, both in free and faithful adaptations and Van der Goess is the earliest extant autographed version,
copies,[34] examples of which are in Brussels, Kassel, and one of the most important. This panel was origi-
Valladolid and Barcelona.[62] This reects its quality, and nally a diptych wing of which the accompanying panel
the fact that he presents an ideal image of an artist as a of the Virgin and Child is lost, and was probably made
self-portrait, legitimising and elevating the trade.[6] Also for a guild. Luke is dressed in a heavy red robe, draws a
inuential was his Madonna type, which he used again for preparatory sketch in silverpoint, and wears a melancholy
the c. 1450 Diptych of Jean de Gros. That painting fea- expression.[68] Building on Van der Weydens theme of
tures a 'Virgin and Child' wing directly modelled on his the role, practice and craft of an artist, Van der Goes
St Luke panel, extending the devotional aspect to include places pieces of charcoal, a knife and the feathers of a
a donor who appears in the same panel with her. In com- small bird in front of the saint.[69] The similarities to the
bining the patron with the Virgin, the artist has made Van der Weyden are many and striking, and include the
that personal devotion an integral part of the image.[63] painting utensils, red robes, physicians cap and blue man-
Depictions of Luke drawing the Virgin rose in popular- tle. The gure has the same middle-aged facial type and
ity in the mid-to-late 15th century, with Van der Wey- his pose, kneeling on a green cushion, although reversed
dens panel the earliest known from the Low Countries[64] compared to Van der Weydens, is the same.[69] Van der
Campins earlier treatment was by then lost.[65] Most Goess adaption both increased Van der Weydens stand-
were free copies (adaptations) of Van der Weydens de- ing in the eyes of the later artists followers, and led to
sign. The anonymous painter known as the Master of a new group of copies that were modelled on the later
the Legend of St. Ursula incorporated the Maria Lac- painting.[41]
8 9 REFERENCES

Detail
of gures walking in the far background

Hugo van der Goes, Saint Luke Drawing the Virgin, c. 147080.
National Museum of Ancient Art, Lisbon
Detail
of the town in the distance
A tapestry version woven in Brussels c. 1500 is now in
the Louvre.[70] It was probably designed using a reversed
drawing of the painting.[71]
9 References
8.1 Left panel 9.1 Notes
[1] "Saint Luke Drawing the Virgin". Museum of Fine Arts,
Boston. Retrieved 27 December 2014

[2] Van Calster (2003), 465

[3] Bauman (1986), 5

[4] Smith (2004), 16

[5] Ainsworth (1998), 104

[6] Harbison (1995), 102

[7] Ainsworth (1998), 139

[8] Campbell (2004), 21

[9] Campbell (2004), 54

Detail of the
[10] Eisler (1961), 734
view beyond the head of the Virgin
[11] Ridderbos et al. (2005), 68
9.2 Sources 9

[12] de Vries, Annette. "Picturing the Intermediary. Artis- [45] Apostolos-Cappadona (1997), 910
tic Consciousness in Representations of Saint Luke Paint-
ing the Virgin in Netherlandish Art: The Case of Van der [46] Nash (2008), 158
Weydens Saint Luke". Historians of Netherlandish Art, [47] Apostolos-Cappadona (1997), 10
2006. Retrieved 27 December 2014
[48] Apostolos-Cappadona (1997), 11
[13] Newman (1997), 135
[49] Harbison (1995), 7
[14] Newman (1997), 136
[50] Blum (1977), 105
[15] Newman (1997), 142
[51] Hornik; Parsons (2003), 167
[16] Newman (1997), 1423
[52] MacBeth; Spronk (1997), 108
[17] Borchert (1997), 64
[53] Spronk (1996), 26
[18] Blum (1997), 107
[54] Ishikawa (1990), 51
[19] Hall (2014), 58
[55] Held (1955), 225
[20] Marrow (1999), 54
[56] Held (1955), 226
[21] Smith (2004), 21
[57] Ishikawa (1990), 58
[22] Ishikawa (1990), 54
[58] Campbell; Van der Stock (2009), 254
[23] Acres (2000), 98101
[59] MacBeth; Spronk (1997), 1034
[24] Campbell (1980), 145
[60] MacBeth; Spronk (1997), 1056
[25] Nash (2008), 157
[61] MacBeth; Spronk (1997), 1078
[26] Acres (2000), 25
[62] Hand et al. (2006), 265
[27] Kleiner (2008), 407
[63] Bauman (1986), 49
[28] Purtle (2007), 8
[64] White (1997), 39
[29] Borchert (1997), 78
[65] Sterling; Ainsworth (1998), 73
[30] Van Calster (2003), 481 [66] Ainsworth (1998), 82
[31] Van Calster (2003), 477 [67] Bauman (1986), 58
[32] Van Calster (2003), 476 [68] White (1997), 40
[33] Van Calster (2003), 478 [69] White (1997), 423
[34] Borchert (2001), 213 [70] Smith (2004), 19
[35] Ishikawa (1990), 57 [71] Delmarcel (1999), 52
[36] van Oosterwijk, Anne. "After Rogier Van der Weyden:
Saint Luke drawing the Madonna". Museums of Fine Arts
of Antwerp, Bruges, Ghent. Retrieved 18 January 2015
9.2 Sources

[37] Ishikawa (1990), 53 Acres, Alfred. Rogier van der Weydens Painted
Texts. Artibus et Historiae, Volume 21, No. 41,
[38] Rothstein (2005), 4 2000
[39] "Head of the Virgin". Louvre. Retrieved 5 December Ainsworth, Maryan. In: From Van Eyck to Bruegel:
2014 Early Netherlandish Painting in the Metropolitan Mu-
[40] Campbell (2004), 8 seum of Art. New York: Metropolitan Museum,
1998. ISBN 978-0-87099-870-6
[41] White (1997), 434
Apostolos-Cappadona, Diane. Picturing devotion
[42] Koerner (1997), 128 : Rogiers St. Luke drawing the Virgin. In: Pur-
[43] Brush (1994), 19
tle, Carol, Saint Luke Drawing the Virgin: Selected
Essays in Context. Boston: Museum of Fine Arts,
[44] Apostolos-Cappadona (1997), 8 1997. ISBN 978-2-503-50572-5
10
Bauman, Guy. Early Flemish Portraits 1425
1525. New York: The Metropolitan Museum of Art
Bulletin, Volume 43, No. 4, Spring, 1986
Blum, Shirley Neilsen. Symbolic Invention in
the Art of Rogier van der Weyden. Jour-
nal of Art History, Volume 46, Issue 14, 1977
doi:10.1080/00233607708603891
Borchert, Till-Holger. The Case for Corporate
Identication. In: Purtle, Carol, Saint Luke Draw-
ing the Virgin: Selected Essays in Context. Boston:
Museum of Fine Arts, 1997. ISBN 978-2-503-
50572-5
Borchert, Till-Holger. Saint Luke Drawing the Vir-
gin. In: Borchert, Till-Holger, Chapuis Julien, Van
Eyck to Drer. London: Thames & Hudson, 2011.
ISBN 978-0-500-23883-7
Brush, Craig. From the Perspective of Self: Mon-
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 11

Netherlandish Paintings at the Fogg Art Museum.

Harvard University Art Museums Bulletin, Volume
5, No. 1, Autumn 1996 doi:10.2307/4301542.
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van Calster, Paul. Of Beardless Painters and

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Luke Drawing the Virgin: Selected Essays in Context.
Boston: Museum of Fine Arts, 1997. ISBN 978-2-
503-50572-5

10 External links
Saint Luke Drawing the Virgin, Museum of Fine
Arts, Boston
12 11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

11 Text and image sources, contributors, and licenses

11.1 Text
Saint Luke Drawing the Virgin Source: https://en.wikipedia.org/wiki/Saint_Luke_Drawing_the_Virgin?oldid=779047004 Contributors:
Deb, Wetman, Michael Devore, Tagishsimon, MistToys, Ham II, Xezbeth, BD2412, MWAK, Nihiltres, Bgwhite, Tony1, Curly Turkey,
Ceoil, Mr Stephen, Cydebot, Casliber, Nick Number, Yomangani, Terrek, Johnbod, Arjayay, Brianboulton, SchreiberBike, Addbot, Agen-
tile27, Yobot, Victoriaearle, TheresNoTime, AnomieBOT, Jim1138, Aa77zz, John of Reading, Dewritech, Outriggr, ZroBot, ClueBot
NG, Frietjes, Helpful Pixie Bot, BG19bot, Neptunes Trident, George Ponderevo, Mogism, TFA Protector Bot, Eurodyne, FACBot, Knife-
in-the-drawer, MPS1992, SkyWarrior, Jeanjung212, Home Lander and Anonymous: 10

11.2 Images
File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: PD Contributors: ? Origi-
nal artist: ?
File:Hugo_van_der_Goes_-_So_Lucas_retratando_a_Virgem.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a0/
Hugo_van_der_Goes_-_S%C3%A3o_Lucas_retratando_a_Virgem.jpg License: Public domain Contributors: [1] Original artist: Hugo van
der Goes
File:Jan_van_Eyck_074a.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/22/Jan_van_Eyck_074a.jpg License: Public
domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DI-
RECTMEDIA Publishing GmbH. Original artist: Jan van Eyck
File:Jan_van_Eyck_The_Virgin_of_Chancellor_Rolin.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c5/Jan_van_
Eyck_The_Virgin_of_Chancellor_Rolin.jpg License: Public domain Contributors:
www.allartpainting.com Original artist: Jan van Eyck
File:Master_of_the_Legend_of_St._Ursula_Virgin_and_Child.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/ee/
Master_of_the_Legend_of_St._Ursula_Virgin_and_Child.jpg License: Public domain Contributors: http://www.metmuseum.org/toah/
works-of-art/17.190.16 Original artist: Master of the Legend of Saint Ursula (Bruges)
File:Rogier_van_der_Weyden_-_Virgin_and_Child_Enthroned_-_Museo_Thyssen-Bornemisza_435.jpg Source:
https://upload.wikimedia.org/wikipedia/commons/b/b7/Rogier_van_der_Weyden_-_Virgin_and_Child_Enthroned_-_Museo_
Thyssen-Bornemisza_435.jpg License: Public domain Contributors: Museo Thyssen-Bornemisza, Madrid Original artist: Rogier
van der Weyden
File:Rogier_van_der_Weyden_014.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4d/Rogier_van_der_Weyden_
014.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202.
Distributed by DIRECTMEDIA Publishing GmbH. Original artist: Rogier van der Weyden
File:Rogier_van_der_Weyden_St_Luke_1914_Photograph_with_old_frame.jpg Source: https://upload.wikimedia.org/wikipedia/
commons/5/57/Rogier_van_der_Weyden_St_Luke_1914_Photograph_with_old_frame.jpg License: Public domain Contributors: Purtle,
Carol, Saint Luke Drawing the Virgin: Selected Essays in Context. Boston: Museum of Fine Arts, 1997. pg 104. ISBN 978-2-503-50572-5
Original artist: Unatt, Museum of Fine Arts, Boston
File:Rogier_van_der_Weyden_St_Luke_Detail_Mary_folds.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8d/
Rogier_van_der_Weyden_St_Luke_Detail_Mary_folds.jpg License: Public domain Contributors: NV Meisterwerke Original artist: Rogier
van der Weyden
File:Rogier_van_der_Weyden_St_Luke_Some_Chick_MFA_Boston.jpg Source: https://upload.wikimedia.org/wikipedia/commons/
f/f6/Rogier_van_der_Weyden_St_Luke_Some_Chick_MFA_Boston.jpg License: Public domain Contributors: http://www.mfa.org/
collections/object/saint-luke-drawing-the-virgin-31035 Original artist: Rogier van der Weyden
File:Saint_Luke_Drawing_the_Virgin3.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Saint_Luke_Drawing_
the_Virgin3.jpg License: Public domain Contributors: http://www.mfa.org/collections/object/saint-luke-drawing-the-virgin-31035 Origi-
nal artist: Rogier van der Weyden
File:Saint_Luke_Drawing_the_Virgin_2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/81/Saint_Luke_Drawing_
the_Virgin_2.jpg License: Public domain Contributors: http://www.mfa.org/collections/object/saint-luke-drawing-the-virgin-31035 Orig-
inal artist: Rogier van der Weyden
File:Saint_Luke_Drawing_the_Virgin_detail2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a7/Saint_
Luke_Drawing_the_Virgin_detail2.jpg License: Public domain Contributors: http://www.mfa.org/collections/object/
saint-luke-drawing-the-virgin-31035 Original artist: Rogier van der Weyden
File:Saint_Luke_Drawing_the_Virgin_detail5.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3c/Saint_
Luke_Drawing_the_Virgin_detail5.jpg License: Public domain Contributors: http://www.mfa.org/collections/object/
saint-luke-drawing-the-virgin-31035 Original artist: Rogier van der Weyden
File:Saint_Luke_drawing_the_Virgin_RvdW_Detail.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0a/Saint_
Luke_drawing_the_Virgin_RvdW_Detail.jpg License: Public domain Contributors: http://vlaamseprimitieven.vlaamsekunstcollectie.be/
en/research/webpublications/after-rogier-van-der-weyden-saint-luke-drawing-the-madonna Original artist: Follower of Rogier van der
Weyden
File:Tapestry_portrait_of_Rogier_vand_der_Weyden.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/d1/Tapestry_
portrait_of_Rogier_vand_der_Weyden.jpg License: Public domain Contributors: Campbell, Lorne & Van der Stock, Jan. Rogier
van der Weyden: 14001464. Master of Passions. Davidsfonds, Leuven, 2009. ISBN 978-90-8526-105-6 Original artist: Un-
known<a href='https://www.wikidata.org/wiki/Q4233718' title='wikidata:Q4233718'><img alt='wikidata:Q4233718' src='https://upload.
wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png' width='20' height='11' srcset='https://
upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/30px-Wikidata-logo.svg.png 1.5x, https://upload.wikimedia.
org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/40px-Wikidata-logo.svg.png 2x' data-le-width='1050' data-le-height='590'
/></a>
11.3 Content license 13

File:Van_der_Weyden,_Saint_Luke_Drawing_the_Virgin,_Luke_detail.jpg Source: https://upload.wikimedia.org/wikipedia/

commons/5/53/Van_der_Weyden%2C_Saint_Luke_Drawing_the_Virgin%2C_Luke_detail.jpg License: Public domain Contributors:
HW Wilson Web electronic database, image collection Original artist: Rogier van der Weyden
File:Weyden-MadonnaLucca-Groeninge.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0f/
Weyden-MadonnaLucca-Groeninge.jpg License: Public domain Contributors: Web Gallery of Art: <a href='http:
//www.wga.hu/art/w/weyden/rogier/02stluke/4luke.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg' src='https://upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png' width='20' height='20' srcset='https:
//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png 1.5x, https://upload.wikimedia.org/
wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60' /></a> Image
<a href='http://www.wga.hu/html/w/weyden/rogier/02stluke/4luke.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-le-
width='620' data-le-height='620' /></a> Info about artwork Original artist: Rogier van der Weyden
File:Weyden-MadonnaLucca-Munic.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/1a/
Weyden-MadonnaLucca-Munic.jpg License: Public domain Contributors: Web Gallery of Art: <a href='http://www.wga.
hu/art/w/weyden/rogier/02stluke/3luke.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg' src='https://upload.wikimedia.org/
wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png' width='20' height='20' srcset='https://upload.wikimedia.
org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png 1.5x, https://upload.wikimedia.org/wikipedia/
commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60' /></a> Image <a
href='http://www.wga.hu/html/w/weyden/rogier/02stluke/3luke.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png' width='20'
height='20' srcset='https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png
1.5x, https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-le-
width='620' data-le-height='620' /></a> Info about artwork Original artist: Rogier van der Weyden

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