Who painted The Angel in the Sun Calling the Birds of Prey?

The Angel in the Sun Calling the Birds of Prey was painted by Jean Duvet in 1551.

Where can I see The Angel in the Sun Calling the Birds of Prey?

The Angel in the Sun Calling the Birds of Prey is held by National Gallery of Art.

What movement is The Angel in the Sun Calling the Birds of Prey?

The Angel in the Sun Calling the Birds of Prey is associated with Renaissance.

Artwork

The Angel in the Sun Calling the Birds of Prey

Jean Duvet , 1551

The Angel in the Sun Calling the Birds of Prey is an ink print by the Renaissance artist Jean Duvet. It dates from 1551 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1551, *The Angel in the Sun Calling the Birds of Prey* is an engraving executed on laid paper by French artist Jean Duvet. The work presents a densely packed, black‑and‑white composition in which a winged figure dominates the upper register, while a tumult of intertwined figures fills the lower space, generating a sense of vigorous movement and tension.

Subject & Meaning

The central angel, clutching a banner, appears to summon predatory birds, a motif linked to the biblical phrase “Hist cap 19 Apoc,” suggesting a reference to the Apocalypse. The surrounding crowd, caught in tangled gestures, may symbolize humanity’s struggle with divine judgment, reflecting Duvet’s preoccupation with intense religious narratives and the moral urgency of his era.

Technique & Style

Duvet employs fine cross‑hatching and bold line work to render deep shadows and intricate textures, giving the image a layered, almost sculptural quality. The engraving’s composition is crowded and dynamic, characteristic of Duvet’s somewhat naïve aesthetic, yet it conveys a remarkable immediacy that sets it apart from the more restrained prints typical of the Renaissance.

History & Provenance

Jean Duvet, recognized as the first major French printmaker, produced roughly 73 plates during his career, many of which explore fervent spiritual themes. This particular print, like much of his output, demonstrates the expressive freedom later associated with artists such as William Blake, highlighting Duvet’s role in expanding the possibilities of engraving in 16th‑century France.