Who painted Mock Joust of War with Flying Shields and Without Bevors?

Mock Joust of War with Flying Shields and Without Bevors was painted by German 16th Century in 1514.

Where can I see Mock Joust of War with Flying Shields and Without Bevors?

Mock Joust of War with Flying Shields and Without Bevors is held by National Gallery of Art.

What movement is Mock Joust of War with Flying Shields and Without Bevors?

Mock Joust of War with Flying Shields and Without Bevors is associated with Renaissance.

Artwork

Mock Joust of War with Flying Shields and Without Bevors

German 16th Century , 1514

Mock Joust of War with Flying Shields and Without Bevors is an ink drawing by the Renaissance artist German 16th Century. It dates from 1514 and is held in the collection of the National Gallery of Art.

About this work

Overview

The work is a small-scale drawing, measuring roughly 33 by 26 centimetres, executed with pen, black ink, watercolor, black chalk and leadpoint on laid paper. It portrays a jousting encounter reminiscent of 16th‑century German tournaments, yet the composition is infused with whimsical elements that set it apart from a straightforward record of the sport.

Subject & Meaning

Armored riders on horseback dominate the scene, their lances poised as they charge. Unusual details—shields soaring through the air and some lacking the lower visor, known as bevors—introduce a note of satire, suggesting a playful critique of the ceremonial seriousness traditionally associated with jousting.

Technique & Style

The artist combines precise pen work with the fluidity of watercolor applied over a base of black chalk and leadpoint marks. The resulting contrast of crisp, dark lines against muted washes creates a lively visual rhythm, while the laid paper surface adds a subtle texture that enhances the drawing’s dynamic quality.

Context

The piece reflects a period when German artists often explored martial subjects with a degree of humor, blending documentary interest with imaginative exaggeration. Its modest dimensions and mixed media suggest it may have been intended for private contemplation rather than public display, aligning with the era’s tradition of intimate, study-like drawings.