Where can I see Plate 62: Northern Bald Ibis and Glossy Ibis with Other Birds?

Plate 62: Northern Bald Ibis and Glossy Ibis with Other Birds is held by National Gallery of Art.

What movement is Plate 62: Northern Bald Ibis and Glossy Ibis with Other Birds?

Plate 62: Northern Bald Ibis and Glossy Ibis with Other Birds is associated with Renaissance.

Artwork

Plate 62: Northern Bald Ibis and Glossy Ibis with Other Birds

Plate 62: Northern Bald Ibis and Glossy Ibis with Other Birds 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, Plate 62 depicts a Northern Bald Ibis alongside a Glossy Ibis and several accompanying birds.

About this work

Overview

Created circa 1594, Plate 62 depicts a Northern Bald Ibis alongside a Glossy Ibis and several accompanying birds. Executed by the Flemish artist Joris Hoefnagel, the work combines watercolor washes with touches of gold on a parchment support, producing a compact yet richly detailed natural study that exemplifies the artist’s meticulous observation of avian form.

Subject & Meaning

The composition centers on two ibises, distinguished by their contrasting plumage, surrounded by smaller species that populate the same wetland environment. Hoefnagel’s precise rendering serves both an aesthetic purpose and an informative one, offering a visual catalogue of bird anatomy and behavior that reflects the period’s growing interest in empirical observation of nature.

Technique & Style

Watercolor provides translucent layers that model feather texture, while gold pigment highlights highlights and decorative borders, a nod to manuscript illumination traditions. The use of parchment as a ground allows fine brushwork and delicate line work, merging the decorative elegance of Renaissance illumination with the emerging natural‑history illustration style of northern Europe.

History & Provenance

Hoefnagel, renowned for his topographical and botanical miniatures, produced this plate as part of a larger folio of animal studies intended for private collectors. The work survives as one of the later examples of illuminated manuscript art, marking the transition from medieval codex decoration to early modern scientific illustration.

Context

The late sixteenth century witnessed a shift toward systematic study of the natural world, and artists like Hoefnagel responded by applying their training in fine detail to scientific subjects. This plate illustrates the convergence of Renaissance artistic techniques with the nascent discipline of natural history, situating the piece at the crossroads of art and early scientific inquiry.