Where can I see Young Yellow-bellied Woodpeckers and Band-tailed Pigeon?

Young Yellow-bellied Woodpeckers and Band-tailed Pigeon is held by National Gallery of Art.

What movement is Young Yellow-bellied Woodpeckers and Band-tailed Pigeon?

Young Yellow-bellied Woodpeckers and Band-tailed Pigeon is associated with Romanticism.

Artwork

Young Yellow-bellied Woodpeckers and Band-tailed Pigeon

Young Yellow-bellied Woodpeckers and Band-tailed Pigeon is an ink print by the Romanticist artist Alexander Lawson. It dates from 1810 and is held in the collection of the National Gallery of Art.

About this work

Overview

Alexander Lawson’s 1810 hand‑colored engraving, titled Young Yellow‑bellied Woodpeckers and Band‑tailed Pigeon, presents a small natural‑history tableau on wove paper. The composition features three birds rendered in vivid, carefully applied pigments against an unadorned backdrop, allowing the avian forms to dominate the visual field.

Subject & Meaning

The arrangement emphasizes the diversity of North‑American bird species without overt narrative, serving primarily as a study of form and coloration.

The print depicts a band‑tailed pigeon, the largest figure, perched on a branch with plumage that blends gray and green tones. Flanking it are two yellow‑bellied woodpeckers, one distinguished by a red crown and the other by a contrasting black‑and‑white pattern. The arrangement emphasizes the diversity of North‑American bird species without overt narrative, serving primarily as a study of form and coloration.

Technique & Style

Lawson combined traditional etching with hand‑coloring, a method that allowed fine line work to define feather texture while the subsequent application of watercolor pigments added depth and realism. Minute details, such as the grain of the branch and the subtle shading of each feather, demonstrate the artist’s meticulous approach to naturalistic representation.

Context

Created in the early nineteenth century, the print reflects a period of growing interest in scientific illustration and the cataloguing of wildlife. While specific ownership records are scarce, the work aligns with contemporary British printmaking practices that catered to both educational and decorative markets, illustrating the era’s fascination with exotic and native fauna.