Christian von Holst. Francesco Granacci. Munich, 1974, pp. 27, 141, 157, no. 47, fig. 78, attributes it to Granacci; notes an attribution to Bacchiacca by Georg Gronau, and, from photographs in the Courtauld Institute and the Frick Art Reference Library, attributions to Granacci by Michael Kitson and Federico Zeri; states that the San Francisco painting is the earliest version, that Granacci reused the same cartoon for the MMA work, and that this cartoon was also used for the two paintings by Bacchiacca [see Notes]; believes that the composition is probably based on a design by Michelangelo.
J. Russell Sale in Italian Paintings: XIV–XVIIIth Centuries from the Collection of The Baltimore Museum of Art. Baltimore, 1981, pp. 91, 98 n. 11, dates it to the 1520s and believes it may be more faithful to the original composition than the version in San Francisco, which he dates about 1515; states that the paintings by Granacci and Bacchiacca are all based on a common source, probably either a painting or a cartoon with color indications, possibly by Raphael or Leonardo, rather than Michelangelo.
Keith Christiansen in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, p. 42, under no. 10, dates this picture about 1520 and the San Francisco version about 1515; states that these two works and those by Bacchiacca all derive from a common lost prototype, possibly by Michelangelo and probably meant for a relief sculpture rather than a painting.
Christopher Fulton. "Present at the Inception: Donatello and the Origins of Sixteenth-Century Mannerism." Zeitschrift für Kunstgeschichte 60, no. 2 (1997), p. 193 n. 36, dates both this work and the version in San Francisco to about 1515.
Everett Fahy in "Recent Acquisitions, A Selection: 2006–2007." Metropolitan Museum of Art Bulletin 65 (Fall 2007), p. 19.
Robert G. La France. Bachiacca: Artist of the Medici Court. Florence, 2008, pp. 197, 199, states that, like Bacchiacca (e.g., MMA 1982.60.10), Granacci based his design on Donatello's Dudley Madonna (Victoria and Albert Museum, London).
Olga Pujmanová in Olga Pujmanová and Petr Pribyl. Italian Painting c. 1330–1550: I. National Gallery in Prague, II. Collections in the Czech Republic; Illustrated Summary Catalogue. Prague, 2008, p. 100, under no. 46, discusses the New York and San Francisco paintings in the entry for a third version of the composition in the National Gallery, Prague.
Charlotte Hale, Julie Arslanoglu, and Silvia A. Centeno. "Granacci in The Metropolitan Museum of Art: Aspects of Evolving Workshop Practice." Studying Old Master Paintings: Technology and Practice. London, 2011, pp. 62–63, figs. 7 (color), 8 (infrared reflectogram detail), describe two changes made from the underdrawing to the painting, the Madonna's head having been tipped slightly downwards and the Child's hand having been curled and holding a loose strand of hair; find it plausible that the composition could be based on a drawing by Michelangelo.