Who painted Plate 37: Two Spaniels with a Gourd?

Plate 37: Two Spaniels with a Gourd was painted by Joris Hoefnagel in 1594.

Where can I see Plate 37: Two Spaniels with a Gourd?

Plate 37: Two Spaniels with a Gourd is held by National Gallery of Art.

What movement is Plate 37: Two Spaniels with a Gourd?

Plate 37: Two Spaniels with a Gourd is associated with Renaissance.

Artwork

Plate 37: Two Spaniels with a Gourd

Joris Hoefnagel , 1594

Plate 37: Two Spaniels with a Gourd 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. Created circa 1594, this small watercolor on parchment depicts two spaniel‑type dogs beside a green gourd suspended from a vine.

About this work

Overview

Created circa 1594, this small watercolor on parchment depicts two spaniel‑type dogs beside a green gourd suspended from a vine. Rendered in delicate washes of pigment accented with gold, the composition balances the animals on a grassy patch with a modest earthen mound in the background, offering a quiet study of domestic fauna and a cultivated fruit.

Subject & Meaning

The two dogs—one light brown and white, the other darker brown—are rendered in contrasting postures, the former rearing on its hind legs while the latter remains on all fours. The suspended gourd, a common symbol of abundance, is paired with a line of Latin inscription, suggesting a blend of natural observation and learned commentary typical of late‑Renaissance emblematic imagery.

Technique & Style

Employing watercolor glazing, Hoefnagel built layers of translucent color to achieve depth in fur and foliage, while fine gold leaf highlights accentuate the gourd’s surface and the parchment’s edges. The meticulous rendering reflects the artist’s background in manuscript illumination, where precision and decorative detail were paramount.

Context

Joris Hoefnagel, a Flemish draftsman active in the late sixteenth century, was among the final generation of manuscript illuminators. His work bridges the tradition of illuminated books and the emerging Northern European still‑life genre, contributing to the period’s growing interest in realistic depictions of flora and fauna.