The Virgin and Child Enthroned (also known as the Thyssen Madonna) is a small oil-on-oak panel painting dated c. 1433, usually attributed to the Early Netherlandish artist Rogier van der Weyden.

The panel is filled with Christian iconography, including representations of prophets, the Annunciation, Christ's infancy and resurrection, and Mary's Coronation.

Van der Weyden served his apprenticeship under Campin, and the older master's style is noticeable in the architecture of the niche, the Virgin's facial type, her exposed breast and the treatment of her hair.

However it is unusual in that the niche exists as a separate feature within the picture, compared to the two other works where the enclosure is coterminous with the edge of the painting, almost as part of the frame, a reason why it is thought to predate The Madonna Standing.

[6] In his usage of grisaille, van der Weyden distinguishes between the earthly realm of flesh and blood, and the divine, represented by ancient sculptural figures, who appear frozen in time.

[9] Art historian Shirley Blum believes these figures were relegated to the architectural elements so as not to crowd the central devotional image.

In the Chartreuse de Champmol, the prophets represent the judges of Christ (Secundum legem debet mori, "according to that law he ought to die") and are thus tied to the crucifixion.

In contrast, in both left-hand panels, the Madonna and Child are positioned frontally (although eye contact is avoided) and isolated within cold grisaille architectural spaces.

[13] Blum suggests that van der Weyden sought to juxtapose the otherworldly realm of the Madonna and Child with the earthly setting and contemporary dress of the saints.

[14] The panel closely resembles van der Weyden's c. 1430–1432 Madonna Standing, and seems influenced by the work of Robert Campin, under whom he served his apprenticeship.

[10] Lorne Campbell attributes the work to van der Weyden's workshop,[15] while art historian John Ward credits it to Campin and gives a date of c.

[16] Ward's thesis is based on the fact that the Thyssen panel, so named after its home at the Thyssen-Bornemisza Museum, is overwhelmingly influenced by Campin, while the contemporaneous and more sophisticated Madonna Standing draws heavily from van Eyck.

He finds such a sudden shift unlikely, while also pointing out that this work evidences some technical difficulties that Campin was never to resolve, especially in respect to foreshortening and the rendering of the body beneath the robes.

Panofsky dated both panels as 1432–34, and believed them to be early works based on stylistic reasons, their near miniature scale, and because of the evident influences of both Campin and van Eyck.