Who painted Plate 30: Four Rays?

Plate 30: Four Rays was painted by Joris Hoefnagel in 1594.

Where can I see Plate 30: Four Rays?

Plate 30: Four Rays is held by National Gallery of Art.

What movement is Plate 30: Four Rays?

Plate 30: Four Rays is associated with Renaissance.

Can I buy a print of Plate 30: Four Rays?

Museum-quality prints of Plate 30: Four Rays are available made-to-order from Artifact World Gallery.

Artwork

Plate 30: Four Rays

Joris Hoefnagel , 1594

Plate 30: Four Rays 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:Fish in image numbered .1., 2., .3., and .4. in red ink; center right in (gold?): XXX. Facing page: upper center in blue ink: Tu dominaris potestati maris: Motum ante[m] / fluctuum tu mitigas .ps.88. (“Thou rules the power of the sea; and appeases the motion of the waves thereof” Psalms 88:10) (Latin Vulgate Bible); lower center in red/violet ink: In MARI via tua, et semita tua in aquis multis: / Et vestigia tua non cognoscentur ps:76. (“Your way is in the sea, and your paths in many waters; and your footsteps shall not be known.” Psalms 76:20) (Latin Vulgate Bible)

About this work

Overview

Created circa 1594, Plate 30: Four Rays is a small-scale work executed in watercolor and gold on parchment. Flemish artist Joris Hoefnagel, active as a painter and manuscript illuminator, rendered a quiet aquatic scene that combines natural observation with decorative elegance.

Subject & Meaning

The composition presents four freshwater rays gliding through a blue‑toned water surface, their bodies rendered in subtle greys and browns. A thin gold circle frames the image, emphasizing the contained, almost scientific study of the creatures within a tranquil setting.

Technique & Style

Hoefnagel employed delicate washes of watercolor to achieve transparent water and nuanced flesh tones, while fine gold pigment outlines the border and accentuates highlights. The precise line work and careful shading reflect the Renaissance emphasis on observation and realism, hallmarks of his miniature illumination practice.

History & Provenance

As one of the later examples of manuscript illumination, the piece illustrates Hoefnagel’s transition from decorative book art to independent natural‑history illustration. It belongs to a series of plates produced for a scientific or ornamental manuscript, underscoring his role in early modern botanical and zoological documentation.

Context

During the late sixteenth century, northern European artists began to explore topographical and floral still‑life subjects. Hoefnagel’s meticulous rendering of the rays anticipates the emergence of standalone floral and fauna painting, bridging the gap between decorative illumination and autonomous genre works.