I looked at the Manhattan Madonna, I read your explanation, went off and had my dinner, ruminated, looked again at the Rosanna Madonna, then went back to the Melbourne Madonna,(boy you got Melbourne, the Garden City, you had to have green in it). 
I did not research further but, the thing I noticed in the Manhattan is the the almost invisible form of the Madonna, compared to the vibrant presence of the Rosanna and Melbourne Madonnas. Yes she is there, she has always been here/there, in spite of mans efforts to obliterate her presence.  
In my tradition there is also the elements, metal and wood. 
Plenty of metal in your painting no evidence of wood,(trees, shrubs and so on), plenty almost every where in Melbourne; she is thus vibrant there, regardless she cannot be destroyed. 
Asherah has her groves it seems in Manhattan, even a blade of grass is her work as is a new born baby, that\'s how I see it, in Manhattan you have to look a little harder, and the Christ child, the manifestation of the 
the Cosmic Christ, in the wings as it were, as the dark moment of a world changing event is about to happen. 
By the way there is something, about those flowers, I can\'t put my finger on. 
An artist I suppose has to expect the sophisticated and the naive interpretation of her/his work, as simple man I see the paintings in the manner I describe. 
 
Mike

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