Who painted Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes?

Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes was painted by Joris Hoefnagel in 1594.

Where can I see Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes?

Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes is held by National Gallery of Art.

What movement is Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes?

Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes is associated with Renaissance.

Can I buy a print of Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes?

Museum-quality prints of Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes are available made-to-order from Artifact World Gallery.

Artwork

Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes

Joris Hoefnagel , 1594

Plate 42: Two Gray Geese with a Third Bird and Hanging Grapes 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, this miniature combines watercolor and gold pigment on a parchment support.

Inscription: Inscribed:Upper center in rose ink: VVAQVE CO[N]SPECTA LIVORE[M] DVCIT AB VVA.; center right in (gold?): XXXXII.; birds in image numbered .1., .2., and .3., in red ink; lower center in (gold?): In convivio vini ne arguas proximum: Et non despicias eum / In iucunditate illius. Ecc[us] xxxi. (“Rebuke not your neighbor in a banquet of wine and despise him not in his mirth.” Ecclesiasticus 31:41) (Latin Vulgate Bible) Facing page: Upper center in black ink: Compedibus venerem, vinclis constringe Lyaeum / Ne te muneribus laedat uterq[ue] suis.; lower center in black ink: Vina parant animos, faciuntq[ue], coloribus aptos, / cura fugit multo, diluiturq[ue] mero / Tunc veniunt risus, tunc pauper cornua sumit / Tunc dolor et curae, rugaq[ue] frontis abit.

About this work

Overview

Created circa 1594, this miniature combines watercolor and gold pigment on a parchment support. It depicts three waterfowl, two gray geese and a smaller bird, perched on a rocky ledge beneath a suspended cluster of grapes and foliage. The composition is set against an unadorned white background, emphasizing the delicate rendering of the birds and the decorative fruit garland.

Subject & Meaning

The work presents a quiet natural scene in which the geese appear to observe one another, while the hanging grapes introduce a symbolic element of abundance. The juxtaposition of fauna and fruit reflects a Renaissance interest in the study of nature and the moral or allegorical associations often attached to such motifs.

Technique & Style

Hoefnagel employs fine brushwork to render the plumage in subtle gray and brown tones, achieving a sense of texture and volume. Gold leaf highlights the grapes and leaves, adding a luminous contrast to the muted birds. The overall approach blends meticulous observation characteristic of natural‑history illustration with the ornamental flair of manuscript illumination.

History & Provenance

Joris Hoefnagel, a Flemish artist noted for his contributions to early scientific illustration, produced this piece toward the end of the manuscript illumination tradition. It exemplifies his role in the emergence of topographical and floral still‑life drawing as distinct genres in northern Europe during the late sixteenth century.