Who painted Plate 60: Magpie, Crow, and Goldfinch?

Plate 60: Magpie, Crow, and Goldfinch was painted by Joris Hoefnagel in 1594.

Where can I see Plate 60: Magpie, Crow, and Goldfinch?

Plate 60: Magpie, Crow, and Goldfinch is held by National Gallery of Art.

What movement is Plate 60: Magpie, Crow, and Goldfinch?

Plate 60: Magpie, Crow, and Goldfinch is associated with Renaissance.

Artwork

Plate 60: Magpie, Crow, and Goldfinch

Joris Hoefnagel , 1594

Plate 60: Magpie, Crow, and Goldfinch 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 three birds—a magpie, a crow and a goldfinch—set against a plain background.

About this work

Overview

Created circa 1594, this small watercolor on parchment depicts three birds—a magpie, a crow and a goldfinch—set against a plain background.

Created circa 1594, this small watercolor on parchment depicts three birds—a magpie, a crow and a goldfinch—set against a plain background. The work belongs to the oeuvre of Joris Hoefnagel, a Flemish artist active in the late sixteenth century, whose output included prints, drawings and illuminated manuscripts. It exemplifies his interest in rendering natural subjects with a high degree of observation.

Subject & Meaning

The composition presents a magpie, a crow and a goldfinch in close proximity, each rendered with meticulous attention to plumage, posture and scale. While the birds are not placed in a narrative scene, their juxtaposition invites comparison of species and highlights the diversity of avian life. The inclusion of a goldfinch, often a symbol of song and delicacy, balances the darker tones of the magpie and crow.

Technique & Style

Hoefnagel employed transparent watercolor washes combined with touches of gold paint, allowing the feather details to emerge through subtle layering. The use of parchment as support provides a smooth, luminous surface that enhances the delicate rendering of texture. The drawing reflects the emerging northern European still‑life tradition, merging scientific observation with decorative elegance, and demonstrates a near‑scientific precision in the depiction of anatomy and coloration.

History & Provenance

The piece forms part of Hoefnagel’s contributions to manuscript illumination and to the early development of floral and animal still‑life painting in the Low Countries. It was likely produced for a private collector interested in natural history illustration. The work has remained in the museum’s collection since the early twentieth century, having entered through a donation of a larger Hoefnagel manuscript assemblage.