In this artwork, how is the History discussed?
The work takes its name from a convent in Monforte de Lemos, in northern Spain, where it is presumed (from the dates of copies made in Flanders) to have arrived in the early 16th century; before that its history is unknown. The dating to c. 1470, early in van der Goes' short active career is based on stylistic considerations.
It was offered on the London art market in 1910 (though still in Spain) and acquired by Wilhelm von Bode and Max Jakob Friedländer of the Gemäldegalerie in 1914, after Friedländer went to Spain to view it and the Spanish government finally agreed to its export.  The purchase caused a dispute between Friedländer, whose attribution to the then little understood van der Goes was based on similarities to his Portinari Altarpiece in Florence, and the leading art historian Heinrich Wölfflin.  Wölfflin's formalist approach made him think the painting much too late to be by van der Goes, and from the 16th century. It is now generally accepted that the work is by van der Goes, though its style is indeed very advanced for its date.Among other works clearly influenced by the painting is the Adoration of the Kings by Jan Gossaert (1510–15) in the London National Gallery, which uses some of the figures and broad elements of the composition.
Monforte de Lemos Jan Gossaert Florence Wilhelm von Bode Portinari Altarpiece Flanders Gemäldegalerie Heinrich Wölfflin Spain National Gallery Max Jakob Friedländer