Who painted Plate 41: Two Gray Geese with Songbirds in a Cherry Tree?

Plate 41: Two Gray Geese with Songbirds in a Cherry Tree was painted by Joris Hoefnagel in 1594.

Where can I see Plate 41: Two Gray Geese with Songbirds in a Cherry Tree?

Plate 41: Two Gray Geese with Songbirds in a Cherry Tree is held by National Gallery of Art.

What movement is Plate 41: Two Gray Geese with Songbirds in a Cherry Tree?

Plate 41: Two Gray Geese with Songbirds in a Cherry Tree is associated with Renaissance.

Artwork

Plate 41: Two Gray Geese with Songbirds in a Cherry Tree

Joris Hoefnagel , 1594

Plate 41: Two Gray Geese with Songbirds in a Cherry Tree 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

Plate 41: Two Gray Geese with Songbirds in a Cherry Tree is a watercolor and gold paint drawing on parchment, created by Flemish artist Joris Hoefnagel around 1594. The piece showcases the artist's skill in natural history illustration, characteristic of his contributions to northern European topographical and floral still-life painting during the late 16th century.

Subject & Meaning

Contrary to its title, the artwork depicts two gray geese on the ground, pecking at grass beneath a cherry tree laden with small red berries. Eight colorful songbirds inhabit the tree's branches, engaging in apparent interaction. The serene natural scene emphasizes detailed observation of its subjects.

Technique & Style

Hoefnagel employed watercolor and gold paint on parchment to achieve a soft, glowing effect. A pale gold border frames the composition, setting the birds and geese against a largely blank background, which heightens their visual prominence.

History & Provenance

Created circa 1594, this work is part of Hoefnagel's body of natural history illustrations, reflecting his influence on northern European artistic developments of the time. Specific provenance details are not provided.

Context

This piece exemplifies the late 16th-century European fascination with detailed natural history representations. Hoefnagel's technique, such as potential use of glazing, aligns with period practices for building up translucent colors in watercolor.

Legacy

As part of Hoefnagel's oeuvre, the work contributes to the historical development of topographical and floral still-life painting in northern Europe, though its individual impact or direct influence on subsequent artists is not specified.