Who painted Plate 56: Two Heads of Cabbage?

Plate 56: Two Heads of Cabbage was painted by Joris Hoefnagel in 1594.

Where can I see Plate 56: Two Heads of Cabbage?

Plate 56: Two Heads of Cabbage is held by National Gallery of Art.

What movement is Plate 56: Two Heads of Cabbage?

Plate 56: Two Heads of Cabbage is associated with Renaissance.

Artwork

Plate 56: Two Heads of Cabbage

Joris Hoefnagel , 1594

Plate 56: Two Heads of Cabbage 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 56: Two Heads of Cabbage is a small-scale work executed in watercolor and gold on parchment. The composition presents a pair of cabbage heads, one noticeably larger than the other, set against a neutral beige ground that isolates the subjects and emphasizes their form.

Subject & Meaning

The image focuses on the naturalistic depiction of two Brassica oleracea specimens, rendered with careful attention to leaf curvature, vein structure, and stem detail. By isolating the vegetables, the work invites contemplation of botanical form and the quiet dignity of everyday produce.

Technique & Style

Hoefnagel employed layered watercolor washes to achieve subtle variations of green and brown, while touches of gold pigment highlight texture and lend a luminous quality. The delicate glazing technique creates depth in the foliage, and the parchment support contributes a smooth, matte surface.

History & Provenance

Joris Hoefnagel, a Flemish artist noted for his natural‑history illustrations and topographical drawings, produced this piece as part of his broader output in manuscript illumination. The drawing reflects his early contributions to the emergence of still‑life as an independent genre in northern Europe during the late sixteenth century.

Context

At a time when botanical studies were gaining scientific interest, Hoefnagel’s meticulous renderings served both decorative and documentary purposes. The work aligns with contemporary Renaissance interests in accurate plant representation, bridging artistic observation and emerging empirical inquiry.