Lada Nikolenko. Francesco Ubertini called "Il Bacchiacca". Locust Valley, N.Y., 1966, pp. 26, 45, 57–58, fig. 67, notes the Leonardesque feeling of the precisely painted flowers in the background, arguing for a date of about 1533 to 1540.
Christian von Holst. Francesco Granacci. Munich, 1974, pp. 27, 141–42 n. 3.
Paintings by Old Masters. Exh. cat., Colnaghi. London, 1978, p. 13, under no. 11, relates our painting to the more complicated version exhibited at Colnaghi's.
J. Russell Sale in Italian Paintings: XIV–XVIIIth Centuries from the Collection of The Baltimore Museum of Art. Baltimore, 1981, pp. 94–95, 98 nn. 29, 30, fig. 5, discusses our painting in relation to the version in the Baltimore Museum of Art, suggesting that our painting was the earlier of the two; proposes a date in the 1520s and notes the use of a Dürer engraving for the background.
Keith Christiansen in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 40–42, no. 10, ill. (color), accepts Sale's [see Ref. 1981] dating of the picture to the early 1520s, and calls it probably the earliest of the four versions; states that Bacchiacca's and Granacci's pictures of the subject probably derive from the same lost prototype, the identity of which cannot be determined based on the information available thus far.
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, pp. 48–49, ill.
Philippe Costamagna in L'officina della maniera: Varietà e fierezza nell'arte fiorentina del Cinquecento fra le due repubbliche 1494–1530. Exh. cat., Galleria degli Uffizi, Florence. Venice, 1996, p. 294, says that the composition derives from a painting of the same subject by Pontormo (Hester Diamond, New York).
Christopher Fulton. "Present at the Inception: Donatello and the Origins of Sixteenth-Century Mannerism." Zeitschrift für Kunstgeschichte 60, no. 2 (1997), pp. 192–94, fig. 27, believes that even if there is not a specific work by Donatello from which this painting derives, the "relief-like presentation and the intimate relationship between Mary and the Christ child are very probably inspired by Donatello's compositional principles"; is unpersuaded by arguments for a Michelangelesque model.
Carmen C. Bambach. Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300–1600. Cambridge, 1999, p. 410 n. 127, includes Bacchiacca among a list of artists who did not use "spolvero" cartoons to produce series of Madonna pictures.
Robert G. La France. "Francesco d'Ubertino Verdi, il Bachiacca (1494–1557): 'diligente dipintore'." PhD diss., Institute of Fine Arts, New York University, 2002, pp. 397–99, no. 41, discusses our painting in relation to the other versions (ex-Salamon and Baltimore Museum of Art), all of which he says derive from Donatello's Dudley Madonna (Victoria and Albert Museum, London); dates our work to the late 1520s.
Robert G. La France. "Bachiacca's Formula for Success." The Art Market in Italy: 15th–17th Centuries. Modena, 2003, pp. 242, 250 nn. 57, 58, p. 461, fig. XVIII-9, cites it as an example of Bacchiacca's "ability to alter his style to satisfy his customers' tastes"; states that the manner of painting in this work was meant to mimic Netherlandish paintings.
Robert G. La France. Bachiacca: Artist of the Medici Court. Florence, 2008, pp. 69, 106–7, 196–99, 202, 217, 228, 245, no. 47, colorpl. XXXIV, dates it about 1530; reiterates his argument [see Ref. 2002] that Bacchiacca based this work and the ex-Salamon and Baltimore versions of the composition on Donatello's Dudley Madonna (Victoria and Albert Museum, London).