Who painted Plate 31: Seven Moths?

Plate 31: Seven Moths was painted by Joris Hoefnagel in 1594.

Where can I see Plate 31: Seven Moths?

Plate 31: Seven Moths is held by National Gallery of Art.

What movement is Plate 31: Seven Moths?

Plate 31: Seven Moths is associated with Renaissance.

Artwork

Plate 31: Seven Moths

Joris Hoefnagel , 1594

Plate 31: Seven Moths 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, Plate 31: Seven Moths is a small-scale drawing by the Flemish artist Joris Hoefnagel. Executed on parchment, the work combines watercolor, a pigment technique known as lepidochromy, and touches of gold paint. It presents a group of moths rendered with meticulous detail, exemplifying Hoefnagel’s interest in natural subjects.

Subject & Meaning

The composition depicts seven distinct moths arranged in a loose cluster, each illustrated with individual wing patterns and coloration. By presenting the insects with scientific precision, Hoefnagel invites close observation of their morphology, reflecting a broader 16th‑century fascination with cataloguing the natural world.

Technique & Style

Hoefnagel employs watercolor to achieve translucent washes that convey the delicate texture of moth wings, while lepidochromy—a method of applying fine pigment particles—adds subtle surface sheen. Gold paint highlights structural details, enhancing the visual contrast between the insects and the pale parchment background.

History & Provenance

The drawing belongs to a series of illuminated natural‑history plates produced late in Hoefnagel’s career, a period when manuscript illumination was waning. It survived as part of a private collection before entering a museum holding of early modern scientific illustrations, where it remains catalogued as a representative example of his later work.

Context

Hoefnagel’s meticulous insect studies contributed to the emergence of floral and fauna still‑life painting in northern Europe. His blend of observational accuracy and decorative embellishment bridges the gap between medieval manuscript art and the burgeoning genre of natural‑history illustration that would dominate the 17th century.