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Plate I

Hoefnagel Aqua Plate I

Hoefnagel, Joris "Animalia Aqvatilia et Cochiliata (Aqva): Plate I" from Four Elements, 1575. Watercolor and guache, 14.3 x 18.4cm. Washington DC, National Gallery of Art. 1987.20.7.2

Aqua’s Plate I begins the third volume in Four Elements. The rocks and shells scattered along the shoreline exemplify Hoefnagel’s artistic aptitude, as their round shapes contrast the flat nature of the page.  Lines drawn meticulously in the water convey a sense of movement, and give mass to the turtle relaxing in the stream, as the water flows around him. The surface of the landscape is depicted tilted towards the viewer, allowing for a better angle of the inhabitants of the scene. Like in the Terra plate, the oval serves as a portal into another world, and again there are traces of Hans Bol in the blank space serving as ground in the image (note 1). Shadows create a trompe l’eoil effect, giving form and dimensionality to the objects. However, the turtle on the left, who seems to be held vertical by an extremely and impossibly tilted sand landscape, undermines the reality of the scene.

In such a filled landscape, the numbering system permits the viewer to distinguish the intended subjects from the scenery, and imparts a naturalistic study feel to the folio. This is augmented by providing multiple views of the turtle, as it relaxes on its back to expose the underbelly, and swims on its stomach to exhibit its shell. Both angles are depicted with much detail, including both fine lines that provide texture, and color that serves an informational and dimensional purpose. The numbering is of interest in the scene due to the fact that it is inconsistent – only one turtle is numbered. The viewer is left wondering why this occurs; are they of different species, or is the one residing in the stream somehow less scientifically derived? In this way, the parallel between art and naturalistic study is both confirmed by the various positioning and numbering system, but also questioned due to the inconsistency of the latter.

 

 

Notes

note 1. The oval as a window is also discussed in Lee Hendrix, “Of hirsuits and insects: Joris Hoefnagel and the Art of the Wondrous,” Word & Image (1995), pp. 384-385.