Who painted The Virgin and Child with a Parrot?

The Virgin and Child with a Parrot was painted by Sebald Beham in 1549.

Where can I see The Virgin and Child with a Parrot?

The Virgin and Child with a Parrot is held by National Gallery of Art.

What movement is The Virgin and Child with a Parrot?

The Virgin and Child with a Parrot is associated with Renaissance.

Artwork

The Virgin and Child with a Parrot

Sebald Beham , 1549

The Virgin and Child with a Parrot is an ink print by the Renaissance artist Sebald Beham. It dates from 1549 and is held in the collection of the National Gallery of Art.

About this work

Overview

Sebald Beham’s 1549 engraving titled *The Virgin and Child with a Parrot* presents a compact, meticulously rendered scene of a seated woman holding an infant, a parrot, and an apple. The figures dominate the composition, set against a modest architectural backdrop that includes a tower. Executed in fine line work, the print exemplifies the delicate, miniature scale typical of Beham’s output.

Subject & Meaning

The image follows a conventional Christian iconography, portraying the Virgin Mary with the infant Jesus. The inclusion of a parrot—often a symbol of the Resurrection—and an apple, referencing the fruit of the Fall, introduces layers of theological symbolism that juxtapose innocence with redemption.

Technique & Style

Beham employs the engraving medium to achieve intricate hatching and cross‑hatching, rendering the folds of the Virgin’s dress and the infant’s skin with remarkable precision. The tight, controlled lines and high level of detail align the work with the Northern Renaissance’s emphasis on surface texture and minute observation.

History & Provenance

A member of the so‑called “Little Masters,” Beham worked primarily in Nuremberg before moving to Frankfurt later in his career. This print is part of his extensive oeuvre of hundreds of engravings and woodcuts, many of which were circulated widely through the burgeoning print market of the mid‑16th century.

Context

Produced during a period of intense religious reform and counter‑reformation, the engraving reflects the continued demand for devotional images in a format accessible to a broad audience. Its small size made it suitable for personal contemplation or inclusion in a collector’s cabinet of prints.