Who painted Plate 25: Two Wild Goats?

Plate 25: Two Wild Goats was painted by Joris Hoefnagel in 1594.

Where can I see Plate 25: Two Wild Goats?

Plate 25: Two Wild Goats is held by National Gallery of Art.

What movement is Plate 25: Two Wild Goats?

Plate 25: Two Wild Goats is associated with Renaissance.

Can I buy a print of Plate 25: Two Wild Goats?

Museum-quality prints of Plate 25: Two Wild Goats are available made-to-order from Artifact World Gallery.

Artwork

Plate 25: Two Wild Goats

Joris Hoefnagel , 1594

Plate 25: Two Wild Goats 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.

Inscription: Inscribed:upper center in black ink: Insidys Capraeae celeres atq[ue] arte petuntur, / Nam quis eas cursu sequeretur rupibus illas / praecipites veluti saxis pendere videbis. / upper center in (gold?): CAPRA NON PEPERIT, HOEDVS AVTE[M] LVDIT IN TECTO.; center right in black: XXV.; animals in image numbered .1. and .2., in red ink; on rock in lower center of image in (gold?): DI LANA CAPRI; lower center in red ink: CAPRAM PORTARE NON POSSU[M], ET INPONITIS BOVEM. Facing page: upper center in (gold?): Pendentem summa Capream de rupe videbis: / Casuram speres, decipit illa canes.; lower center in brown ink: Capra calce profundit lac, quod dedit.

About this work

Overview

Plate 25: Two Wild Goats is a drawing created by Joris Hoefnagel around 1594. It is executed in watercolor and gold paint on parchment.

Subject & Meaning

The drawing depicts two goats on a rocky outcropping, set against a simple landscape of trees and hills, all contained within a circular border highlighted in gold. The surrounding text is in Latin.

Technique & Style

Hoefnagel's use of watercolor and gold paint on parchment achieves a detailed, soft appearance. The watercolor technique likely involved layering washes to build up the colors and achieve the desired level of precision.

History & Provenance

As a Flemish artist, Hoefnagel was among the last practitioners of manuscript illumination. His work reflects the era's focus on observational accuracy and contributed to the development of topographical and still-life genres in northern Europe.