Who painted Plate 11: Four Fish and Shells?

Plate 11: Four Fish and Shells was painted by Joris Hoefnagel in 1594.

Where can I see Plate 11: Four Fish and Shells?

Plate 11: Four Fish and Shells is held by National Gallery of Art.

What movement is Plate 11: Four Fish and Shells?

Plate 11: Four Fish and Shells is associated with Renaissance.

Artwork

Plate 11: Four Fish and Shells

Joris Hoefnagel , 1594

Plate 11: Four Fish and Shells is a gouache drawing by the Renaissance artist Joris Hoefnagel. It dates from 1594 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created circa 1594, the work titled *Plate 11: Four Fish and Shells* is a small-scale watercolor and gold‑paint composition on parchment. Flemish artist Joris Hoefnagel arranged four marine specimens in a shallow, blue‑tinted pool, each accompanied by a few shells on a sandy base. The image is bordered by a thin gilt line that recalls illuminated manuscript pages.

Subject & Meaning

The drawing presents a close observation of four distinct fish, each rendered with attention to coloration, scale pattern and form, alongside assorted shells. By numbering the elements, Hoefnagel treats the scene as a natural‑history study, reflecting the Renaissance interest in cataloguing and teaching the characteristics of living creatures.

Technique & Style

Hoefnagel employed transparent watercolor washes, building hue through successive glazing that gives the water a luminous quality. Fine brushwork defines the fish anatomy, while delicate gold pigment outlines the parchment edge, linking the piece to the tradition of illuminated books. The overall style balances scientific precision with the decorative elegance of northern European still‑life.

History & Provenance

The drawing belongs to Hoefnagel’s broader output of naturalistic illustrations produced for patrons interested in scientific observation and decorative art.

The drawing belongs to Hoefnagel’s broader output of naturalistic illustrations produced for patrons interested in scientific observation and decorative art. It survives as part of a manuscript‑like collection of plates that circulated among collectors in the late sixteenth century, illustrating the artist’s role in the early development of the floral and fauna still‑life genre in the Low Countries.