A look back – Johannes Taubert and the investigation of the Miraflores Altarpiece

right panel of the Miraflores Altarpiece (fig. 1),

The history of research on the Miraflores Altarpiece is a most peculiar one. For more than a century, it was judged to be a copy after Rogier van der Weyden, while a second version, the Granada–New York Altarpiece, was regarded as the original. Both connoisseurship and technical investigation seemed to corroborate this until the contrary was proved in 1981. In the history of technical research on the altarpiece, Johannes Taubert played an instructive role, particularly concerning the relationship of connoisseurship to technical research and the conclusions drawn from it. This article examines that role and offers some thoughts about its implications for future research.

DOI: 10.5092/jhna.2019.11.1.1
Miraflores Altarpiece,  before 1445,  Gemäldegalerie, Staatliche Museen zu Berlin
Fig. 1 Rogier van der Weyden, Miraflores Altarpiece, before 1445, oil on panel, each 74 x 44.5 cm. Gemäldegalerie, Staatliche Museen zu Berlin, cat. no. 534A (artwork in the public domain; photo: © Jörg P. Anders, Berlin)
Granada–New York Altarpiece,  ca. 1500,  Granada, Capilla Real, and New York, Metropolitan Museum of Art
Fig. 2 Juan de Flandes or Michel Sittow (?), Granada–New York Altarpiece, ca. 1500, oil on panel, each originally 63.5 x 38.1 cm. Granada, Capilla Real, and New York, Metropolitan Museum of Art, The Bequest of Michael Dreier, inv. 22.60.58 (right panel) (artwork in the public domain)
right panel of the Miraflores Altarpiece (fig. 1),
Fig. 3 Rogier van der Weyden, right panel of the Miraflores Altarpiece (fig. 1) and right panel of the Granada–New York Altarpiece (fig. 2) (artworks in the public domain; photo: © Jörg P. Anders, Berlin
Architectural details of the Miraflores Altarpiece (fig. 1): on the left from Christ Appearing to His Mother, on the right from the Nativity and the Lamentation. Drawing from Taubert, “Die beiden Marienaltäre des Rogier van der Weyden” (see Bibliography)
Fig. 4 Architectural details of the Miraflores Altarpiece (fig. 1): on the left from Christ Appearing to His Mother, on the right from the Nativity and the Lamentation. Drawing from Taubert, “Die beiden Marienaltäre des Rogier van der Weyden” (see Bibliography)
Details of the Miraflores Altarpiece (fig. 1): ca,
Fig. 5 Details of the Miraflores Altarpiece (fig. 1): capitals and canopies in the Lamentation (a) and Christ Appearing to His Mother (b) (artwork in the public domain; photo: © Christoph Schmidt, SMB)
Right panel of the Granada–New York Altarpiece (fig. 2) and radiograph of the same panel. Illustration from Burroughs, Art Criticism from a Laboratory, figs. 95, 96 (see Bibliography)
Fig. 6 Right panel of the Granada–New York Altarpiece (fig. 2) and radiograph of the same panel. Illustration from Burroughs, Art Criticism from a Laboratory, figs. 95, 96 (see Bibliography)
IRR of the right panel of the Miraflores Altarpie,
Fig. 7 IRR of the right panel of the Miraflores Altarpiece (fig. 1): Christ Appearing to His Mother. Illustration (detail) from Grosshans, “Rogier van der Weyden: Der Marienaltar aus der Kartause Miraflores.” fig. 23 (see Bibliography) (IRR: Gerald Schultz, SMB)
The Descent from the Cross,  before 1443,  Madrid, Museo del Prado
Fig. 8 Rogier van der Weyden, The Descent from the Cross, before 1443, oil on panel. Madrid, Museo del Prado (artwork in the public domain). Left: proportions according to the wrong measurements of 220 x 262 cm; right: proportions according to the correct measurements of 204.5 x 261.5 cm
Right panel of the Miraflores Altarpiece (fig. 1),
Fig. 9 Right panel of the Miraflores Altarpiece (fig. 1): Christ Appearing to His Mother, IRR 2016 (detail). (Image courtesy of Berlin, Gemäldegalerie SMB; IRR: Christoph Schmidt, SMB)
Details of the Miraflores Altarpiece (fig. 1): la,
Fig. 10 Details of the Miraflores Altarpiece (fig. 1): landscape in the Lamentation (above) and Christ Appearing to His Mother (below) (artwork in the public domain; photo: © Christoph Schmidt, SMB)
  1. 1. Gustav Friedrich Waagen, Kunstwerke und Künstler in England und Paris, vol. 2 (Berlin: Nicolai, 1838), 233–36.

  2. 2. Chrétien Jean Nieuwenhuys, Description de la Galerie des Tableaux de S. M. le Roy de Pays-Bas: Avec quelque remarques sur l’histoire des peintres et sur le progrès de l’art (Brussels: Delevingne et Callewaert 1843), 42.

  3. 3. See recently Stephan Kemperdick, “The Miraflores Triptych and the Issue of Rogier van der Weyden’s ‘authenticated’ Paintings,” in Rogier van der Weyden y España: Proceedings of the International Symposium, Madrid, Museo Nacional del Prado, mayo de 2015, ed. Lorne Campbell and José Juan Pérez Preciado (Madrid: Museo Nacional del Prado, 2016), 30–42.

  4. 4. Johann David Passavant, “Beiträge zur Kenntnis der alt-niederländischen Malerschulen bis zur Mitte des sechzehnten Jahrhunderts (Fortsetzung),” Kunstblatt 24 (1843): 245.

  5. 5. Johann David Passavant, Die christliche Kunst in Spanien (Leipzig: Weigel, 1853), 123.

  6. 6. Manuel Gómez-Moreno, “Un trésor de peintures inédites du XVe siècle à Grenade,” Gazette des Beaux-Arts 50 (1908): 301–2.

  7. 7. Johannes Taubert, PhD diss., University of Marburg, 1956; published posthumously as: Zur kunstwissenschaftlichen Auswertung von naturwissenschaftlichen Gemäldeuntersuchungen (Munich: Siegl, 2003), 177–88.

  8. 8. Panofsky, Early Netherlandish Painting, 461. Maryan Wynn Ainsworth, “Implications of Revised Attributions in Netherlandish Painting,” Metropolitan Museum Journal 27 (1992): 59–76, https://doi.org/10.2307/1512935, has shown that there are indeed clear differences in the execution of the two versions.

  9. 9. Taubert, Gemäldeuntersuchungen, 184, 187–88; Johannes Taubert, “Die beiden Marienaltäre des Rogier van der Weyden: Ein Beitrag zur Kopienkritik,” Pantheon 18 (1960): 72.

  10. 10. Alan Burroughs, Art Criticism from a Laboratory (Boston: Little, Brown and Company, 1938; repr. Westport, Conn.: Greenwood Press, 1971), 227, 230, 232.

  11. 11. Roger van Schoute, La Chapelle Royale de Grenade, Les Primitifs flamands I, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 6 (Brussels: Royal Institute for Cultural Heritage, 1963), 95.

  12. 12. Rainald Grosshans, “Rogier van der Weyden: Der Marienaltar aus der Kartause Miraflores” Jahrbuch der Berliner Museen 23 (1981): 102–11. https://doi.org/10.2307/4125779

  13. 13. Peter Klein, “Dendrochronologische Untersuchungen an Eichenholztafeln von Rogier van der Weyden,” Jahrbuch der Berliner Museen 23 (1981): 113–23. https://doi.org/10.2307/4125780

  14. 14. Jochen Sander, Raphael and the Portrait of Julius II – Image of a Renaissance Pope, exh. cat. (Frankfurt am Main: Städel Museum /Petersberg: Imhof, 2013).

  15. 15. Sander, Raphael and the Portrait of Julius II, 95, 98, regards it as a workshop piece.

  16. 16. Translation by the authors; see Taubert, “Die beiden Marienaltäre,” 67; Giorgio Vasari, Das Leben des Andrea del Sarto,” trans. Victoria Lorini, annotated Sabine Feser, ed. Alessandro Nova (Berlin: Wagenbach, 2005), 55.

  17. 17. J. R. J. van Asperen de Boer, Jeltje Dijkstra, and Roger van Schoute, “Underdrawing in Paintings of the Rogier van der Weyden and Master of Flémalle Groups,” Nederlands Kunsthistorisch Jaarboek 41 (1990) (Zwolle: Waanders, 1992).

  18. 18. Van Asperen de Boer, Dijkstra, and Van Schoute, “Underdrawing in Paintings of the Rogier van der Weyden,” 280–85; Panofsky, Early Netherlandish Paintings, 298–302; on the work recently, see Stephan Kemperdick, Ein Kreuzigungstriptychon von Rogier van der Weyden, Monographien der Abegg-Stiftung 20 (Riggisberg: Abegg-Stiftung, 2014).

  19. 19. Van Asperen de Boer, Dijkstra, and Van Schoute, “Underdrawing in Paintings of the Rogier van der Weyden,” 202–21.

  20. 20. Friedländer, Die Altniederländische Malerei, 91; Davies, Rogier van der Weyden, 223–26; Dirk de Vos, Rogier van der Weyden: The Complete Works (Antwerp: Mercator, 1999), cat. 4; Lorne Campbell, ed., Rogier van der Weyden and the Kingdoms of the Iberian Peninsula, exh. cat. (Madrid: Museo del Prado, 2015), 74–81, cat. 1.

  21. 21. The correct measurements were kindly provided by José Juan Pérez Preciado (email of May 15, 2018).

Ainsworth, Maryan Wynn. “Implications of Revised Attributions in Netherlandish Painting.” Metropolitan Museum Journal 27 (1992): 59–76. https://doi.org/10.2307/1512935

Asperen de Boer, J. R. J. van, Jeltje Dijkstra, and Roger van Schoute. “Underdrawing in Painting of the Rogier van der Weyden and Master of Flémalle Groups.” Nederlands Kunsthistorisch Jaarboek 41 (1990). Zwolle: Waanders, 1992.

Burroughs, Alan. Art Criticism from a Laboratory. Boston: Little, Brown and Company, 1938. Reprint. Westport, Conn.: Greenwood Press, 1971.

Campbell, Lorne, ed. Rogier van der Weyden and the Kingdoms of the Iberian Peninsula. Exh. cat. Madrid: Museo del Prado, 2015.

Davies, Martin. Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin. London: Phaidon, 1972.

Friedländer, Max J. Die Altniederländische Malerei: Rogier van der Weyden und der Meister von Flémalle. Vol. 2. Berlin: Cassirer, 1924.

Gómez-Moreno, Manuel. “Un trésor de peintures inédites du XVe siècle à Grenade.” Gazette des Beaux-Arts 50 (1908): 289–315.

Grosshans, Rainald. “Rogier van der Weyden: Der Marienaltar aus der Kartause Miraflores.” Jahrbuch der Berliner Museen 23 (1981): 49–112. https://doi.org/10.2307/4125779

Kemperdick, Stephan. Ein Kreuzigungstriptychon von Rogier van der Weyden. Monographien der Abegg-Stiftung 20. Riggisberg: Abegg-Stiftung, 2014.

Kemperdick, Stephan. “The Miraflores Triptych and the Issue of Rogier van der Weyden’s ‘authenticated’ Paintings.” In Rogier van der Weyden y España: Proceedings of the International Symposium, Madrid, Museo Nacional del Prado, mayo de 2015, edited by Lorne Campbell and José Juan Pérez Preciado. 30–42. Madrid: Museo Nacional del Prado, 2016.

Klein, Peter. “Dendrochronologische Untersuchungen an Eichenholztafeln von Rogier van der Weyden.” Jahrbuch der Berliner Museen 23 (1981): 113–23. https://doi.org/10.2307/4125780

Nieuwenhuys, Chrétien Jean. Description de la Galerie des Tableaux de S. M. le Roy de Pays-Bas: Avec quelques remarques sur l’histoire des peintres et sur le progrès de l’art. Brussels: Delevingne et Callewaert, 1843.

Panofsky, Erwin. Early Netherlandish Painting. 2 vols. Cambridge, Mass.: Harvard University Press, 1953.

Passavant, Johann Friedrich. “Beiträge zur Kenntnis der alt-niederländischen Malerschulen bis zur Mitte des sechszehnten Jahrhunderts (Fortsetzung).” Kunstblatt 24 (1843): 253–54.

Passavant, Johann Friedrich. Die christliche Kunst in Spanien. Leipzig: Weigel, 1853.

Sander, Jochen. Raphael and the Portrait of Julius II – Image of a Renaissance Pope. Exh. cat. Frankfurt am Main: Städel Museum/Petersberg: Imhof, 2013.

Schoute, Roger van. La Chapelle Royale de Grenade. Les Primitifs flamands I, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 6. Brussels: Royal Institute for Cultural Heritage, 1963.

Taubert, Johannes. “Die beiden Marienaltäre des Rogier van der Weyden: Ein Beitrag zur Kopienkritik.” Pantheon 18 (1960): 67–75.

Taubert, Johannes. Zur kunstwissenschaftlichen Auswertung von naturwissenschaftlichen Gemäldeuntersuchungen. Munich: Siegl, 2003 (PhD diss., University of Marburg, 1956).

Vasari, Giorgio. Das Leben des Andrea del Sarto. New translation by Victoria Lorini; annotated by Sabine Feser; edited by Alessandro Nova. Berlin: Wagenbach, 2005.

Vos, Dirk de. Rogier van der Weyden: The Complete Works. Antwerp: Mercator, 1999.

Waagen, Gustav Friedrich. Kunstwerke und Künstler in England und Paris. Vol. 2. Berlin: Nicolai, 1838.

Winkler, Friedrich. Der Meister von Flémalle und Rogier van der Weyden: Studien zu ihren Werken und zur Kunst ihrer Zeit mit mehreren Katalogen zu Rogier. Zur Kunstgeschichte des Auslandes 103. Strassburg: Heitz, 1913.

List of Illustrations

Miraflores Altarpiece,  before 1445,  Gemäldegalerie, Staatliche Museen zu Berlin
Fig. 1 Rogier van der Weyden, Miraflores Altarpiece, before 1445, oil on panel, each 74 x 44.5 cm. Gemäldegalerie, Staatliche Museen zu Berlin, cat. no. 534A (artwork in the public domain; photo: © Jörg P. Anders, Berlin)
Granada–New York Altarpiece,  ca. 1500,  Granada, Capilla Real, and New York, Metropolitan Museum of Art
Fig. 2 Juan de Flandes or Michel Sittow (?), Granada–New York Altarpiece, ca. 1500, oil on panel, each originally 63.5 x 38.1 cm. Granada, Capilla Real, and New York, Metropolitan Museum of Art, The Bequest of Michael Dreier, inv. 22.60.58 (right panel) (artwork in the public domain)
right panel of the Miraflores Altarpiece (fig. 1),
Fig. 3 Rogier van der Weyden, right panel of the Miraflores Altarpiece (fig. 1) and right panel of the Granada–New York Altarpiece (fig. 2) (artworks in the public domain; photo: © Jörg P. Anders, Berlin
Architectural details of the Miraflores Altarpiece (fig. 1): on the left from Christ Appearing to His Mother, on the right from the Nativity and the Lamentation. Drawing from Taubert, “Die beiden Marienaltäre des Rogier van der Weyden” (see Bibliography)
Fig. 4 Architectural details of the Miraflores Altarpiece (fig. 1): on the left from Christ Appearing to His Mother, on the right from the Nativity and the Lamentation. Drawing from Taubert, “Die beiden Marienaltäre des Rogier van der Weyden” (see Bibliography)
Details of the Miraflores Altarpiece (fig. 1): ca,
Fig. 5 Details of the Miraflores Altarpiece (fig. 1): capitals and canopies in the Lamentation (a) and Christ Appearing to His Mother (b) (artwork in the public domain; photo: © Christoph Schmidt, SMB)
Right panel of the Granada–New York Altarpiece (fig. 2) and radiograph of the same panel. Illustration from Burroughs, Art Criticism from a Laboratory, figs. 95, 96 (see Bibliography)
Fig. 6 Right panel of the Granada–New York Altarpiece (fig. 2) and radiograph of the same panel. Illustration from Burroughs, Art Criticism from a Laboratory, figs. 95, 96 (see Bibliography)
IRR of the right panel of the Miraflores Altarpie,
Fig. 7 IRR of the right panel of the Miraflores Altarpiece (fig. 1): Christ Appearing to His Mother. Illustration (detail) from Grosshans, “Rogier van der Weyden: Der Marienaltar aus der Kartause Miraflores.” fig. 23 (see Bibliography) (IRR: Gerald Schultz, SMB)
The Descent from the Cross,  before 1443,  Madrid, Museo del Prado
Fig. 8 Rogier van der Weyden, The Descent from the Cross, before 1443, oil on panel. Madrid, Museo del Prado (artwork in the public domain). Left: proportions according to the wrong measurements of 220 x 262 cm; right: proportions according to the correct measurements of 204.5 x 261.5 cm
Right panel of the Miraflores Altarpiece (fig. 1),
Fig. 9 Right panel of the Miraflores Altarpiece (fig. 1): Christ Appearing to His Mother, IRR 2016 (detail). (Image courtesy of Berlin, Gemäldegalerie SMB; IRR: Christoph Schmidt, SMB)
Details of the Miraflores Altarpiece (fig. 1): la,
Fig. 10 Details of the Miraflores Altarpiece (fig. 1): landscape in the Lamentation (above) and Christ Appearing to His Mother (below) (artwork in the public domain; photo: © Christoph Schmidt, SMB)

Footnotes

  1. 1. Gustav Friedrich Waagen, Kunstwerke und Künstler in England und Paris, vol. 2 (Berlin: Nicolai, 1838), 233–36.

  2. 2. Chrétien Jean Nieuwenhuys, Description de la Galerie des Tableaux de S. M. le Roy de Pays-Bas: Avec quelque remarques sur l’histoire des peintres et sur le progrès de l’art (Brussels: Delevingne et Callewaert 1843), 42.

  3. 3. See recently Stephan Kemperdick, “The Miraflores Triptych and the Issue of Rogier van der Weyden’s ‘authenticated’ Paintings,” in Rogier van der Weyden y España: Proceedings of the International Symposium, Madrid, Museo Nacional del Prado, mayo de 2015, ed. Lorne Campbell and José Juan Pérez Preciado (Madrid: Museo Nacional del Prado, 2016), 30–42.

  4. 4. Johann David Passavant, “Beiträge zur Kenntnis der alt-niederländischen Malerschulen bis zur Mitte des sechzehnten Jahrhunderts (Fortsetzung),” Kunstblatt 24 (1843): 245.

  5. 5. Johann David Passavant, Die christliche Kunst in Spanien (Leipzig: Weigel, 1853), 123.

  6. 6. Manuel Gómez-Moreno, “Un trésor de peintures inédites du XVe siècle à Grenade,” Gazette des Beaux-Arts 50 (1908): 301–2.

  7. 7. Johannes Taubert, PhD diss., University of Marburg, 1956; published posthumously as: Zur kunstwissenschaftlichen Auswertung von naturwissenschaftlichen Gemäldeuntersuchungen (Munich: Siegl, 2003), 177–88.

  8. 8. Panofsky, Early Netherlandish Painting, 461. Maryan Wynn Ainsworth, “Implications of Revised Attributions in Netherlandish Painting,” Metropolitan Museum Journal 27 (1992): 59–76, https://doi.org/10.2307/1512935, has shown that there are indeed clear differences in the execution of the two versions.

  9. 9. Taubert, Gemäldeuntersuchungen, 184, 187–88; Johannes Taubert, “Die beiden Marienaltäre des Rogier van der Weyden: Ein Beitrag zur Kopienkritik,” Pantheon 18 (1960): 72.

  10. 10. Alan Burroughs, Art Criticism from a Laboratory (Boston: Little, Brown and Company, 1938; repr. Westport, Conn.: Greenwood Press, 1971), 227, 230, 232.

  11. 11. Roger van Schoute, La Chapelle Royale de Grenade, Les Primitifs flamands I, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 6 (Brussels: Royal Institute for Cultural Heritage, 1963), 95.

  12. 12. Rainald Grosshans, “Rogier van der Weyden: Der Marienaltar aus der Kartause Miraflores” Jahrbuch der Berliner Museen 23 (1981): 102–11. https://doi.org/10.2307/4125779

  13. 13. Peter Klein, “Dendrochronologische Untersuchungen an Eichenholztafeln von Rogier van der Weyden,” Jahrbuch der Berliner Museen 23 (1981): 113–23. https://doi.org/10.2307/4125780

  14. 14. Jochen Sander, Raphael and the Portrait of Julius II – Image of a Renaissance Pope, exh. cat. (Frankfurt am Main: Städel Museum /Petersberg: Imhof, 2013).

  15. 15. Sander, Raphael and the Portrait of Julius II, 95, 98, regards it as a workshop piece.

  16. 16. Translation by the authors; see Taubert, “Die beiden Marienaltäre,” 67; Giorgio Vasari, Das Leben des Andrea del Sarto,” trans. Victoria Lorini, annotated Sabine Feser, ed. Alessandro Nova (Berlin: Wagenbach, 2005), 55.

  17. 17. J. R. J. van Asperen de Boer, Jeltje Dijkstra, and Roger van Schoute, “Underdrawing in Paintings of the Rogier van der Weyden and Master of Flémalle Groups,” Nederlands Kunsthistorisch Jaarboek 41 (1990) (Zwolle: Waanders, 1992).

  18. 18. Van Asperen de Boer, Dijkstra, and Van Schoute, “Underdrawing in Paintings of the Rogier van der Weyden,” 280–85; Panofsky, Early Netherlandish Paintings, 298–302; on the work recently, see Stephan Kemperdick, Ein Kreuzigungstriptychon von Rogier van der Weyden, Monographien der Abegg-Stiftung 20 (Riggisberg: Abegg-Stiftung, 2014).

  19. 19. Van Asperen de Boer, Dijkstra, and Van Schoute, “Underdrawing in Paintings of the Rogier van der Weyden,” 202–21.

  20. 20. Friedländer, Die Altniederländische Malerei, 91; Davies, Rogier van der Weyden, 223–26; Dirk de Vos, Rogier van der Weyden: The Complete Works (Antwerp: Mercator, 1999), cat. 4; Lorne Campbell, ed., Rogier van der Weyden and the Kingdoms of the Iberian Peninsula, exh. cat. (Madrid: Museo del Prado, 2015), 74–81, cat. 1.

  21. 21. The correct measurements were kindly provided by José Juan Pérez Preciado (email of May 15, 2018).

Bibliography

Ainsworth, Maryan Wynn. “Implications of Revised Attributions in Netherlandish Painting.” Metropolitan Museum Journal 27 (1992): 59–76. https://doi.org/10.2307/1512935

Asperen de Boer, J. R. J. van, Jeltje Dijkstra, and Roger van Schoute. “Underdrawing in Painting of the Rogier van der Weyden and Master of Flémalle Groups.” Nederlands Kunsthistorisch Jaarboek 41 (1990). Zwolle: Waanders, 1992.

Burroughs, Alan. Art Criticism from a Laboratory. Boston: Little, Brown and Company, 1938. Reprint. Westport, Conn.: Greenwood Press, 1971.

Campbell, Lorne, ed. Rogier van der Weyden and the Kingdoms of the Iberian Peninsula. Exh. cat. Madrid: Museo del Prado, 2015.

Davies, Martin. Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin. London: Phaidon, 1972.

Friedländer, Max J. Die Altniederländische Malerei: Rogier van der Weyden und der Meister von Flémalle. Vol. 2. Berlin: Cassirer, 1924.

Gómez-Moreno, Manuel. “Un trésor de peintures inédites du XVe siècle à Grenade.” Gazette des Beaux-Arts 50 (1908): 289–315.

Grosshans, Rainald. “Rogier van der Weyden: Der Marienaltar aus der Kartause Miraflores.” Jahrbuch der Berliner Museen 23 (1981): 49–112. https://doi.org/10.2307/4125779

Kemperdick, Stephan. Ein Kreuzigungstriptychon von Rogier van der Weyden. Monographien der Abegg-Stiftung 20. Riggisberg: Abegg-Stiftung, 2014.

Kemperdick, Stephan. “The Miraflores Triptych and the Issue of Rogier van der Weyden’s ‘authenticated’ Paintings.” In Rogier van der Weyden y España: Proceedings of the International Symposium, Madrid, Museo Nacional del Prado, mayo de 2015, edited by Lorne Campbell and José Juan Pérez Preciado. 30–42. Madrid: Museo Nacional del Prado, 2016.

Klein, Peter. “Dendrochronologische Untersuchungen an Eichenholztafeln von Rogier van der Weyden.” Jahrbuch der Berliner Museen 23 (1981): 113–23. https://doi.org/10.2307/4125780

Nieuwenhuys, Chrétien Jean. Description de la Galerie des Tableaux de S. M. le Roy de Pays-Bas: Avec quelques remarques sur l’histoire des peintres et sur le progrès de l’art. Brussels: Delevingne et Callewaert, 1843.

Panofsky, Erwin. Early Netherlandish Painting. 2 vols. Cambridge, Mass.: Harvard University Press, 1953.

Passavant, Johann Friedrich. “Beiträge zur Kenntnis der alt-niederländischen Malerschulen bis zur Mitte des sechszehnten Jahrhunderts (Fortsetzung).” Kunstblatt 24 (1843): 253–54.

Passavant, Johann Friedrich. Die christliche Kunst in Spanien. Leipzig: Weigel, 1853.

Sander, Jochen. Raphael and the Portrait of Julius II – Image of a Renaissance Pope. Exh. cat. Frankfurt am Main: Städel Museum/Petersberg: Imhof, 2013.

Schoute, Roger van. La Chapelle Royale de Grenade. Les Primitifs flamands I, Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 6. Brussels: Royal Institute for Cultural Heritage, 1963.

Taubert, Johannes. “Die beiden Marienaltäre des Rogier van der Weyden: Ein Beitrag zur Kopienkritik.” Pantheon 18 (1960): 67–75.

Taubert, Johannes. Zur kunstwissenschaftlichen Auswertung von naturwissenschaftlichen Gemäldeuntersuchungen. Munich: Siegl, 2003 (PhD diss., University of Marburg, 1956).

Vasari, Giorgio. Das Leben des Andrea del Sarto. New translation by Victoria Lorini; annotated by Sabine Feser; edited by Alessandro Nova. Berlin: Wagenbach, 2005.

Vos, Dirk de. Rogier van der Weyden: The Complete Works. Antwerp: Mercator, 1999.

Waagen, Gustav Friedrich. Kunstwerke und Künstler in England und Paris. Vol. 2. Berlin: Nicolai, 1838.

Winkler, Friedrich. Der Meister von Flémalle und Rogier van der Weyden: Studien zu ihren Werken und zur Kunst ihrer Zeit mit mehreren Katalogen zu Rogier. Zur Kunstgeschichte des Auslandes 103. Strassburg: Heitz, 1913.

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DOI: 10.5092/jhna.2019.11.1.1
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Katrin Dyballa, Stephan Kemperdick, "A look back – Johannes Taubert and the investigation of the Miraflores Altarpiece," Journal of Historians of Netherlandish Art 11:1 (Winter 2019) DOI: 10.5092/jhna.2019.11.1.1