National Gallery of Art, Washington, D.C. (accession no. 1952.5.65).
Location History:
The painting was purchased in England by the collector Gustave Dreyfus (1837–1914) of Paris, giving rise to its alternate title, "Madonna Dreyfus." Following his death, it remained with his heirs until the entire Dreyfus collection was purchased in 1930 by Duveen Brothers, Inc. It was sold in September 1951 to the Samuel H. Kress Foundation of New York, which gifted it to the National Gallery of Art in 1952, where it remains today as part of the Kress Collection.
The Virgin holds her son close against her chest while a pomegranate rests in her free hand, the fruit's leathery red skin picked out with the same close, jewel-like attention Lorenzo di Credi brought to fabric and flesh alike across this small panel. At just 16.5 by 13.4 centimeters, the picture is intimate in scale, meant for private devotion rather than public display, and its size only sharpens how much fine, controlled detail is packed into so small a surface. The pomegranate itself carries a long-standing symbolic charge in Christian iconography, its many seeds enclosed within a single fruit long read as an emblem of the Church's unity, and its blood-red interior frequently linked to Christ's Passion and eventual Resurrection. What makes this panel genuinely remarkable, though, isn't only its iconography but the tangled question of who actually painted it. For much of the twentieth century, the National Gallery of Art's own curatorial files and major Leonardo scholars, including Ludwig Heydenreich and Angela Ottino della Chiesa, attributed the painting to a young Leonardo da Vinci, with one 2006 article going so far as to call it "probably Leonardo's earliest surviving painting." That attribution has shifted over decades of connoisseurship, with the National Gallery's own published Systematic Catalogue eventually settling on Lorenzo di Credi, a fellow pupil in Andrea del Verrocchio's Florentine workshop, as the more likely author. That unresolved history matters here in a way it rarely does for other panels: this isn't simply a minor Renaissance devotional image, but a documented case study in how closely the young talents trained under Verrocchio, Leonardo and Lorenzo di Credi among them, painted in dialogue with, and sometimes nearly indistinguishably from, one another.
Lorenzo di Credi, painting shows the contest of colours, emotions of mother and child, and the shadows make it more attractive. This painting shows love of a relationship but also shows the divine motherhood.
