Hugo van der Goes

M.J. Friedländer, "Hugo van der Goes. Eine Nachlese," in Jahrbuch der Königlich Preussischen Kunstsammlungen, 25, no. 2, 1904, pp. 111-12;

W.H.J. Weale, "A Picture by Hugh van der Goes," in The Burlington Magazine for Connoisseurs, vol. XII, no. 57, December 1907, p. 163 (the Berlin canvas only);

M.H. Bernath, "Further Notes on Justus van Ghent," in American Journal of Archaeology, 2nd Series, XIV, 1910, pp. 450-453 (citing a panel in Altenburg, he attributes the present composition to Joos van Ghent);

G. Ring, "Ein Diptychon des Hugo van der Goes," in Zeitschrift fur bildenden Kunst, Neue Folge, vol. 48, 1913, pp. 85-88 (hypothesized of the present works' existence based on copies);

J. Destrée, Hugo van der Goes, Paris and Brussels 1914, pp. 43-44;

K. Pfister, Hugo van der Goes, Basel 1923, p. 14;

M.J. Friedländer, Die altniederländische Malerei, IV, Leyden 1924, pp. 39-40 and 124-125 (the Berlin canvas only);

F. Winkler, Die altniederländische Malerei: die Malerei in Belgien und Holland von 1400-1600, Berlin 1924, p. 112;

M.J. Friedländer, "Van Der Goes und Memling," in Oud-Holland, LXV, 1950, part V, pp. 167-171, reproduced p. 168, fig. 1;

E. Panofsky, Early Netherlandish Painting, vol. 1, Cambridge, Massachusetts 1953, pp. 338, note 2, and p. 502;

P.M. Bardi, ed., Dipinti del Museo d'arte di San Paolo del Brasile, exhibition catalogue, Milan 1954, p. 25, under cat. no. 4;

F. Winkler, "Das Berliner 'Tuchlein' des Hugo van der Goes und sein Gegenstück," in Berliner Museen, vol. 1-2, 1955, pp. 2-8, reproduced figs. 1, 3, and 4;

F. Winkler, "Dieric Bouts and Joos van Ghent," in Kunstchronik, XI, January 1958, p. 10;

M.J. Friedländer, From Van Eyck to Bruegel, London 1956, p. 45, note 2, reproduced plate 96;

Juste de Gand, Berruguete et la cour d'Urbino, exhibition catalogue, Ghent 1957, p. 118, under cat. no. 56;

L'art flamand dans les collections espagnoles, Musée Communal des Beaux-Arts, exhbition catalogue, Bruges 1958, p. 30, under cat. no. 6;

G. Marlier, "Das Jahrhundert der Flämischen Primitiven," in Weltkunst, 15 July 1960, p. 12, reproduced;

J. Folie, ed., Flanders in the fifteenth century: art and civilization, exhibition catalogue, Detroit 1960, pp. 122-124, cat. no. 23, reproduced;

G. Isarlo, "L'Exposition de Bruges révèle les primitifs flamands des musées americains," in Combat, 1 August 1960, p. 9, reproduced;

R. Van Schoute, La Chapelle Royale de Grenade, Brussels 1963, pp. 67, 70, 71, cited under cat. nos. 98D, 98F and 98G;

H. Pauwels, Musée Groeninge: Catalogue, Bruges 1963, p. 86;

Catálogo das pinturas, esculturas e tapeçarias: Museu de Arte de São Paulo, Sao Paulo 1963, p. 206, cited under cat. no. 178;

F. Winkler, Das Werk des Hugo van der Goes, Berlin 1964, pp. 45-47, 50- 51 and 133, reproduced p. 48, fig. 28;

K. Arndt, "Zum Werk des Hugo van der Goes," in Münchner Jahrbuch der bildenden Kunst, 3rd series, XV, 1964, pp. 69-70;

S. Ringbom, Icon to Narrative: The Rise of the Dramatic Close-Up in fifteenth-Century Devotional Painting, Abo 1965, pp. 99, 127-132, 135, 137, 141 and 155, reproduced fig. 83;

E. Panofsky, Early Netherlandish Painting, Cambridge 1966, p. 338, n. 2;

C.T. Eisler, "Rubens' Uses of the Northern Past: The Michiels Triptych and Its Sources," in Bulletin des Musées Royaux des Beaux-Arts de Belgique, 1967, pp. 64-65, reproduced p. 62, fig. 9;

H.Th. Musper, Altniederländische Malerei von Van Eyck bis Bosch, Cologne 1968, p. 33, 36, 41, reproduced fig. 36;

O. Pacht, "Typenwandel in Werk des Hugo van der Goes," in Wiener Jahrbuch, XXII, 1969, pp. 50, 52-53;

M.J. Friedländer, Early Netherlandish Painting: Hugo Van der Goes, vol. IV, New York 1969, pp. 26, 40, 69 and 87, cat. no. 7, addenda 136, reproduced plate 9;

M. Corti and G.T. Faggin, L'Opera completa di Memling, Milan 1969, p. 98, under cat. nos. 26A and 27A;

C. Cuttler, Northern Painting, New York 1973, pp. 176-77;

Gent: duizend jaar kunst en cultuur, exhibition catalogue, Museum of Fine Arts, Ghent 1975, p. 179, cited under cat. no. 19;

R. Grosshans, in Katalog der ausgestellten Gemälde des 13, Jahrhunderts, Gemaldegalerie, Staatliche Museen, Berlin 1975, pp. 176-177;

P.H. Dectoeau, "Studies of the Permanent Collection: Lamentation Triptych by Colin de Coter," in Elvehjem Museum of Art Bulletin, 1977-78, p. 18, reproduced fig. 4;

E.B. Martinez, La Pintura de los primitivos flamencos en España, vol. I, Madrid 1980, p. 192, under cat. no. 3, vol. II, 1982, p. 73, under cat. no. 8D;

H.T. Musper, Netherlandish Painting from Van Eyck to Bosch, translation by R. Allan, New York 1981, p. 36;

P. Vandenbroeck, "Laatmiddeleeuwse doekschilderkunst in de Zuidelijke Nederlanden Repertorium der nog bewaarde werken," in Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen, 1982, p. 51, cat. no. 49;

Hugo van der Goes, Centre d'Art de Rouge-Cloître, exhibition catalogue, Auderghem 1982, pp. 14, 44, reproduced fig. 4;

D. De Vos, Bruges, Musées Communaux: catalogue des tableaux du 15^e et du 16^e siècles, Bruges 1982, p. 166;

J.H. Marrow, "Symbol and Meaning in Northern European Art of the Middle Ages and the Early Renaissance," in Simiolus, XVI, No. 2/3, 1986, pp. 157, 169, reproduced fig. 5;

R. Grosshans, in Masterworks of the Gemäldegalerie, Berlin, with a History of the Collection, New York 1986, p. 142, reproduced;

D. Wolfthal, "The Technique of Early Netherlandish Canvases," Le Dessin sousjacent dans la peinture, Colloque VI. 12-14 Septembre 1985: Infrarouge et autres techniques d'examen, Louvain-la-Neuve, H. Verougstraete-Marcq and R. Van Schoute, eds., 1987, pp. 81-91;

E. Camesasca, ed., De Raphael à Corot: trésors du Musée d'art de São Paulo, exhibition catalogue, Milan 1988, p. 40;

D. Wolfthal, The Beginnings of Netherlandish Canvas Painting, 1400-1530, New York and Cambridge 1989, pp. 27, 33-36, 47-48, cat. no. 13, reproduced figs. 46, 51, 73;

L. Collobi Ragghianti, Dipinti fiamminghi in Italia, 1420-1570: Catalogo, Bologna 1990, pp. 33 and 73, under cat. nos. 66 and 126 (incorrectly stating that the present canvas as part of a diptych was originally ordered for the Panciatichi family);

J. Sander, Hugo van der Goes: Stilentwicklung und Chronologie, Mainz 1992, pp. 141-155, reproduced fig. 58 and color plate 26;

D. De Vos, Hans Memling, Groeningemuseum, exhibition catalogue, Bruges 1994, p. 154, reproduced p. 332, fig. 92a (as attributed to Hugo van der Goes);

D. De Vos, Hans Memling: The Complete Works, Ghent 1994, p. 332, reproduced fig. 92a (as attributed to Hugo Van der Goes);

M.L. Evans, "Book Reviews: Hugo van der Goes: Stilentwicklung und Chronologie... by Jochen Sander," in Burlington Magazine, CXXXVI, September 1994, no. 1098, p. 624;

P. Eeckhout, "La deuxième génération: Hugo van der Goes," in R. Van Schoute, et al., Les Primitifs flamands et leur temps, Louvain-la-Neuve 1994, p. 418, reproduced in color in reverse p. 420;

O. Pächt, Early Netherlandish Painting from Rogier van der Weyden to Gerard David, Munich 1994, pp. 205-206, 208, reproduced fig. 151;

M. Natale, in Il Palazzo Durazzo Pallavicini, Bologna 1995, p. 162;

C.T. Eisler, Masterworks in Berlin, A City's Paintings Reunited, Boston 1996, p. 79;

C. Reynolds, "Goes, Hugo van der," in The Dictionary of Art, London 1996, vol. XII, p. 849;

G. Wilmers, Cornelis Schut (1597-1655): A Flemish Painter of the High Baroque, Turnhout 1996, p. 142, under cat. no. A76;

E. Dhanens, Hugo van der Goes, Antwerp 1998, pp. 183-184, 375, reproduced in color p. 183 (as attributed to Hugo van der Goes);

H. Mund and C. Stroo, Early Netherlandish Painting 1400- 1500: A Bibliography (1984-1998), Brussels 1998, p. 183;

C. Quermann, Der Marientod von Hugo van der Goes: Distanzen als Gegenstand der Bildanalyse, Weimar 2006, p. 19, 52, 53, reproduced p. 174, plate 7;

B. Ridderbos, "Hugo van der Goes's 'Death of the Virgin' and the Modern Devotion: an analysis of a creative process," in Oud Holland, vol. 120, no. 1/2, 2007, p. 22, note 72;

E. de Zutter, "'The Descent from the Cross' in the Bilbao Fine Arts Museum: a small manifesto of Brussels School Painting," in Buletina: Bilbao, Museo de Belles Artes de Bilbao, 10, 2016, reproduced fig. 5 (as attributed to Hugo van der Goes".