Who painted Plate 80: Purple and Yellow Viola?

Plate 80: Purple and Yellow Viola was painted by Joris Hoefnagel in 1594.

Where can I see Plate 80: Purple and Yellow Viola?

Plate 80: Purple and Yellow Viola is held by National Gallery of Art.

What movement is Plate 80: Purple and Yellow Viola?

Plate 80: Purple and Yellow Viola is associated with Renaissance.

Can I buy a print of Plate 80: Purple and Yellow Viola?

Museum-quality prints of Plate 80: Purple and Yellow Viola are available made-to-order from Artifact World Gallery.

Artwork

Plate 80: Purple and Yellow Viola

Joris Hoefnagel , 1594

Plate 80: Purple and Yellow Viola 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:Center right in brown ink: LXXX. Facing page: Upper center in black ink: Multa abscondita sunt mairoa his: Pauca / enim vidimus operum eius: Ecc[us].43. (“There are many things hidden from us that are greater than these: for we have seen but a few of his works.” Ecclesiasticus 43:36) (Latin Vulgate Bible)

About this work

Overview

Created circa 1594, Plate 80: Purple and Yellow Viola is a small-scale drawing by the Flemish artist Joris Hoefnagel. Executed in watercolor and gold pigment on parchment, the work presents a single violet‑colored viola flower rendered with meticulous detail. It exemplifies Hoefnagel’s late‑period output, when he was among the final generation of manuscript illuminators.

Subject & Meaning

The composition focuses on a solitary viola, its petals rendered in shades of purple and yellow. The careful observation of form and coloration suggests a scientific interest in plant morphology, while the inclusion of gold highlights the flower’s aesthetic value, bridging natural study and decorative art.

Technique & Style

Hoefnagel employed transparent watercolor washes to model the delicate petals, layering fine brushwork to achieve subtle tonal shifts. Gold paint is applied sparingly to accentuate the flower’s center and to create a luminous background, a technique rooted in the illumination tradition yet adapted to a more naturalistic, still‑life approach.

History & Provenance

The drawing originates from Hoefnagel’s later career, a period when he transitioned from illuminated manuscripts to independent botanical studies. It survives on parchment, a material typical of manuscript production, indicating it may have been intended for a private collection or as a study sheet for fellow artists and scholars.

Context

Hoefnagel’s work marks a pivotal moment in northern European art, where the detailed observation of flora began to inform the emerging genre of floral still‑life painting. His methodical rendering of the viola reflects the broader scientific curiosity of the late sixteenth century, aligning visual art with contemporary natural history research.