Maria with the child, the Archangel Michael and a donor

Rendered in the Northern Renaissance idiom, the composition combines detailed landscape elements—trees, rolling hills, and a reflective water body—with a finely modeled figure group. The artist employs a balanced palette of rich reds, whites, and metallic tones, and uses delicate brushwork to convey texture in fabrics and the angel’s feathered wings.

The painting originated in the early sixteenth‑century Low Countries, likely intended for a private devotional setting. It entered the Gemäldegalerie’s holdings during the museum’s 20th‑century acquisitions, where it has been displayed as part of the institution’s Flemish collection.

During this period, Antwerp workshops produced numerous multi‑figure devotional works that integrated donor portraits with sacred narratives. The inclusion of Michael reflects contemporary theological emphasis on the archangel’s role as defender against evil, a motif common in late medieval and early Renaissance art.