Who painted Plate 29: Two Monkeys, an "Arctopithecus"(Sloth?) and Fruit?

Plate 29: Two Monkeys, an "Arctopithecus"(Sloth?) and Fruit was painted by Joris Hoefnagel in 1575.

Where can I see Plate 29: Two Monkeys, an "Arctopithecus"(Sloth?) and Fruit?

Plate 29: Two Monkeys, an "Arctopithecus"(Sloth?) and Fruit is held by National Gallery of Art.

What movement is Plate 29: Two Monkeys, an "Arctopithecus"(Sloth?) and Fruit?

Plate 29: Two Monkeys, an "Arctopithecus"(Sloth?) and Fruit is associated with Renaissance.

Artwork

Plate 29: Two Monkeys, an "Arctopithecus"(Sloth?) and Fruit

Joris Hoefnagel , 1575

Plate 29: Two Monkeys, an "Arctopithecus"(Sloth?) and Fruit is a gouache drawing by the Renaissance artist Joris Hoefnagel. It dates from 1575 and is held in the collection of the National Gallery of Art. Created in 1575, this miniature watercolor on parchment combines pigment and gold to depict a lively grouping of primates and fruit.

About this work

Overview

Created in 1575, this miniature watercolor on parchment combines pigment and gold to depict a lively grouping of primates and fruit. The composition is circular, presenting four monkeys amid foliage, a large gourd containing a butterfly, and a split gourd on the ground, all set against a stylized watery landscape with rocks and plants.

Subject & Meaning

The scene juxtaposes the naturalistic rendering of the monkeys with whimsical elements, such as the butterfly trapped inside the gourd. A Latin inscription crowns the image, translating to “Monkeys are beautiful and ugly,” suggesting a reflective or moralizing commentary on the dual nature of the animals.

Technique & Style

Hoefnagel employed fine watercolor washes layered with delicate gold highlights to accentuate fur texture and the glossy surface of the gourds. The use of glazing builds depth, while the precise line work reflects the artist’s background in manuscript illumination and natural history illustration.

History & Provenance

The work is part of a larger illustrated manuscript by Joris Hoefnagel, a Flemish painter and draftsman noted for his contributions to early naturalistic drawing and the development of floral still‑life in northern Europe. The plate was produced during his active period as a court artist and collector of exotic specimens.

Context

In the late sixteenth century, European interest in exotic fauna grew alongside expanding trade routes. Hoefnagel’s detailed observation of animals, combined with decorative gold, mirrors contemporary scientific curiosity and the decorative traditions of illuminated books.

Legacy

The plate exemplifies an early synthesis of scientific illustration and artistic embellishment, influencing later natural history artists who sought to balance accuracy with aesthetic appeal. Its blend of observation, humor, and ornamentation marks a notable point in the evolution of European wildlife depiction.