↑ A Donor portrait refers to the portrait or Donor portrait alone, whereas a “votive portrait” may often refer to a whole work of art, including say a Madonna, especially if the Donor is very prominent. But the terms are not used very consistently by art historians, as Angela Marisol Roberts points out (Roberts, pp. 1-3, 22)
↑ See particularly Roberts, 22-24 for a review of the historiography as to the motivations of donors
↑ Harbison, Craig, Jan van Eyck, The Play of Realism, pp.112, Reaktion Books, London, 1981, ISBN 0948462183
↑ In fact half of the 83 14th century Venetian images, in what is intended to be a complete catalogue by Roberts, are of this group type. Roberts, 32
↑ Roberts, 16-19. Quote on p. 19 , note 63, from I Motti e facezie del Piovano Arlotto a popular 15th century compilation of comic stories attributed to the real Piovano Arlotto, a priest of Pratolino near Florence. Biography in Italian Wikipedia
↑ J.O. Hand & M. Wolff, Early Netherlandish Painting, pp. 155-161, National Gallery of Art, Washington(catalogue)/Cambridge UP, 1986, ISBN 0521340160. The girls' mother may be in a Nativity in Birmingham, if it is indeed from the same altarpiece. Washington attribute the work to the "Master of the Prado Adoration of the Magi", but note that many attribute the girls alone to Rogier van der Weyden, the other's master.
↑ Penny, 110, discussing this and another example by Marco Marziale
↑ Memling seems to have replaced a generalized portrait of the wife of Sir John Donne with a more personal one, perhaps after Lady Donne travelled to Bruges, or a drawing was made in Calais for him. See the entry for the painting in National Gallery Catalogues: The Fifteenth Century Netherlandish Paintings by Lorne Campbell, 1998, ISBN 185709171
↑ Paola Tinagli, Women in Italian Renaissance Art: Gender, Representation, Identity, Manchester University Press, pp. 64-72 1997, ISBN 071904054X, discusses the Donor portraits in the cycle in detail (especially the female ones)
↑ John Pope-Hennessy (see Further reading), 22-23, quoted in Roberts, 27,note 83. Sentence on Suzannah from Berger & Berger, here
