Who painted Plate 46: Two Crabs with Seashells?

Plate 46: Two Crabs with Seashells was painted by Joris Hoefnagel in 1594.

Where can I see Plate 46: Two Crabs with Seashells?

Plate 46: Two Crabs with Seashells is held by National Gallery of Art.

What movement is Plate 46: Two Crabs with Seashells?

Plate 46: Two Crabs with Seashells is associated with Renaissance.

Can I buy a print of Plate 46: Two Crabs with Seashells?

Museum-quality prints of Plate 46: Two Crabs with Seashells are available made-to-order from Artifact World Gallery.

Artwork

Plate 46: Two Crabs with Seashells

Joris Hoefnagel , 1594

Plate 46: Two Crabs with Seashells 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:Crustaceans and shells in image numbered .1., .2, .3., .4., .5., .6., .7., .8., and .9., in red ink; center right in brown ink: XXXXVI. Facing page: upper center in blue ink: Ostrea callebat, primo deprendere morsu. / Et semel aspecti lutus dicebat echini.; lower center in blue ink: Ebria baiano veni modo concha Lucrino: / Nobile nunc sitio luxuriosa garum.

About this work

Overview

Created around 1594, Plate 46: Two Crabs with Seashells is a watercolor and gold paint drawing on parchment, exemplifying Joris Hoefnagel's blend of scientific precision and decorative flair.

Subject & Meaning

The drawing features two crabs accompanied by seashells, showcasing Hoefnagel's focus on natural history subjects and his ability to merge observation with aesthetic appeal.

Technique & Style

Hoefnagel employed watercolor and gold paint on parchment, demonstrating his skill as a manuscript illuminator and precursor to the floral still-life tradition in northern Europe.

History & Provenance

Dating to circa 1594, this work is attributed to Joris Hoefnagel, a Flemish artist noted as one of the last prominent manuscript illuminators of his time.

Context

Plate 46 contributes to the emergence of floral and natural history still-life painting in late 16th-century northern Europe, highlighting Hoefnagel's transitional role between manuscript illumination and emerging artistic trends.