Who painted Phasianus Versicolor - Female?

Phasianus Versicolor - Female was painted by William Home Lizars in 1824.

Where can I see Phasianus Versicolor - Female?

Phasianus Versicolor - Female is held by National Gallery of Art.

What movement is Phasianus Versicolor - Female?

Phasianus Versicolor - Female is associated with Romanticism.

Artwork

Phasianus Versicolor - Female

William Home Lizars , 1824

Phasianus Versicolor - Female is an ink print by the Romanticist artist William Home Lizars. It dates from 1824 and is held in the collection of the National Gallery of Art.

About this work

Overview

The bird dominates the composition, its plumage rendered with fine detail, while the background recedes in lighter tones.

William Home Lizars produced a hand‑coloured etching in 1824 titled *Phasianus Versicolor – Female*. The print portrays a single green pheasant perched on a curved branch, set against a softened landscape of distant trees, rolling hills and a low‑lying structure resembling a castle or temple. The bird dominates the composition, its plumage rendered with fine detail, while the background recedes in lighter tones.

Subject & Meaning

The work depicts the female of the species *Phasianus versicolor*, commonly known as the green pheasant, native to East Asia. By focusing on the bird’s intricate feather pattern and delicate posture, the image reflects the 19th‑century interest in natural history illustration, emphasizing both scientific observation and aesthetic appreciation of wildlife.

Technique & Style

Lizars employed traditional copper‑plate etching, later enhanced with hand‑applied colour to accentuate the bird’s brown and green hues and the pink tones of its legs. The line work defines the bird’s slender beak and feather texture, while the broader washes on the background create atmospheric depth without detracting from the central figure.

History & Provenance

Created in 1824, the print forms part of Lizars’s broader series of ornithological plates produced for natural‑history publications of the period. Original impressions were likely distributed to collectors and scholars interested in avian studies. Subsequent ownership records trace the piece through private collections before entering museum holdings, where it remains a reference for early scientific illustration.