Artwork

Plate 58: African Gray Parrot, Indian Ring-Necked Parrot, and a Third Parrot

Plate 58: African Gray Parrot, Indian Ring-Necked Parrot, and a Third Parrot 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: ALIA VOCE PSITTACVS, ALIA COTVRNIX LOQVITUR (“Parrot and quail squeak with different voices.” Erasmus, _Adages_, 2.5.59) (trans. Vignau-Wilberg 1994, 65); center right in (gold?): LVIII.; parrots in image numbered .1., .2., and .3., in red ink; writing [undeciphered] on branch on right of image in gold; lower center in red/violet ink: FVNGVS PVTIDVS. / in black ink: Vilibus ancipites, fungi ponentur amicis: Boletus Domino. Facing page: upper center in red ink: Qui fecit Coelos In Intellectu: Quoniam / In aeternum misericordia eius ps: 135. (“Who made the heavens in understanding: for his mercy endures forever.” Psalms 135:5) (Latin Vulgate Bible); lower center in black ink: Rumpimus altricem tenero de vertice terram / Tubera: boletis poma secunda sumus.

About this work

Overview

Plate 58: African Gray Parrot, Indian Ring-Necked Parrot, and a Third Parrot is a watercolor and gold paint work on parchment created by Joris Hoefnagel around 1594. It exemplifies the artist's skill in natural history illustration and manuscript illumination.

Subject & Meaning

The painting depicts three parrots perched on a branch, showcasing Hoefnagel's attention to detail. The birds are rendered with distinct characteristics: a green Indian ring-necked parrot with a long tail, a gray African parrot with a red tail, and a smaller, less colorful third parrot.

Technique & Style

Hoefnagel's use of watercolor and gold paint on parchment highlights his technical skill. The work demonstrates his ability to capture the texture of feathers and the effects of light, reflecting his contribution to the development of naturalistic detail in manuscript illumination.

History & Provenance

Created around 1594, the work is associated with Joris Hoefnagel, a Flemish artist who played a role in the emergence of floral still-life painting and topographical drawing in northern Europe.