Explore the Question of attribution of this artwork.
The attribution of the work has been disputed. In 1890, Wilhelm von Bode bought it in Florence, Italy, as a Memling, but as early as 1892, he attributed it to Memling's contemporary, Simon Marmion. This attribution was kept by some specialists, while several others – such as Hugo von Tschudi, Georges Hulin de Loo, and Max J. Friedlander – maintained that it was indeed a Memling; of the late period and of very high quality as far as Friedlander was concerned. The debate later shifted on the question of authenticity: it was questioned if it was a painting by Memling himself, or rather by an assistant, a follower, or an imitator. The question has been settled since 1994, when thorough examination showed that it was indeed a genuine work by Hans Memling himself.
Hans Memling Florence Hugo von Tschudi Florence, Italy Simon Marmion Max J. Friedlander Wilhelm von Bode Georges Hulin de Loo