Modern Animalier Art
Explore a captivating collection of animal paintings and graphics from the National Museum in Krakow.
Swan (1700/1720) by Abraham Busschop (Bisschop)The National Museum in Krakow
Preserves and menageries, gardens and parks
This captivating 17th-century Dutch painting, possibly by Abraham Bisschop, depicts a swan and duck in a dramatic twilight landscape. Its rich colors and composition are truly striking.
In the compared scene The Threatened Swan (c. 1650, Rijksmuseum, Amsterdam) by Asselijn, we see a proud, even angry bird, reacting violently to the approaching threat in the form of a swimming dog.
Swan (1700/1720) by Abraham Busschop (Bisschop)The National Museum in Krakow
Bird Portraits
The bird "models" presented by Bisschop lead an undisturbed existence in an idealized, charming landscape. In other paintings by Bisschop, elements of architecture, vases or statues often appear in the landscape.
The artist was particularly fond of depicting swans. These are birds whose capture and correct depiction of proportions, poses and plumage requires craftsmanship and observation skills.
The main motive of the work is a bird depicted in movement, dominant in the composition. The swan rests on the ground, surrounded by picturesque, colourful plants and two other birds.
The plants shown in the painting are the China rose (Hibiscus rosa-sinensis) and the butterbur (Petastes hybridus).
Decorative Landscape with Palm and Animals (1800/1850) by Unknown (Francois Desportes?)The National Museum in Krakow
A Grand Menagerie Scene
This large-scale artwork, possibly by François Desportes, depicts a palm tree and animals. It's likely intended as a decorative piece for grand residences or menageries.
François Desportes, active at the turn of the 17th and 18th centuries, served as court painter to Louis XIV and XV. He was a member of the Paris Academy of Fine Arts and a renowned decorator.
This artist's keen eye for detail is evident in their preserved studies and sketches. The painting, possibly intended for a grand residence, showcases their skill as a draftsman and observer of nature. Its decorative purpose enhances its appeal.
Goats, kids, and ducks—set in a stylized, almost "southern" landscape. The common species of domestic animals are contrasted with the surrounding nature and elements of garden or park architecture, whose shapes evoke associations with ancient tradition.
A palm tree and vibrant birds create an exotic atmosphere. Picturesque tombs and castles hint at a fantastical Orient. This composition reflects a fascination with stylized gardens.
Animals in the Yard (1632) by Gysbert Gillisz de HondecoeterThe National Museum in Krakow
Domestic Animals & Still Life
Modern paintings often depict domestic animals within the context of yards and pantries, creating intimate scenes of everyday life.
The modest scene with domestic animals is signed by Gijsbert de Hondecoeter, a Dutch painter-animalist (of Flemish origin). Gijsbert, the son of the painter Gillis d'Hondecoeter, specialized in painting small "yard" compositions, maintained in a realistic convention.
The artist drew inspiration from existing animal-themed templates popular in 17th and 18th-century art centers, complementing their own observations and studies.
Gijsbert de Hondecoeter's painting captures a lively barnyard scene, showcasing a rooster, cat, rabbits, pigeon, and chickens. The artist's keen observation of animal behavior is evident.
Dutch and Flemish art often portrays animals alongside humans, blurring the lines between species in intimate scenes. Notice the inclusion of everyday objects, adding depth to the composition.
A fight between a rooster and a cat (1674) by Jacobus VictorsThe National Museum in Krakow
Jacob Victors: Cat vs. Rooster
Jacob Victors, a Dutch animal painter active in Venice and Amsterdam, depicts a humorous 'duel' between a cat and a rooster.
The Fight Between a Rooster and a Cat is a masterpiece showcasing vibrant animal portrayal. It evokes 17th-century fables by Jean de La Fontaine, adding a literary dimension to the artwork.
Victors suggestively, almost illusionistically, rendered the texture of the electrified cat fur and animal feathers of the heroes of the scene. He deftly captured the tension accompanying the confrontation.
Its mounting signals a cock feather lying next to the fighters, suggesting that this is not the first clash of animals.
Flowers, insects, shells and a hatching chick (1591/1592) by Georg Joris HoefnagelThe National Museum in Krakow
The collection of graphics
Joris Hoefnagel (1542-1601), draughtsman and cartographer, collaborated with his son Jacob (c. 1575-1630) on the Archetypa... engravings. Hoefnagel's collections of prints were used as templates by other artists, also influencing early works of still life in European painting.
When preparing a series of copperplate engravings, Jacob Hoefnagel creatively used and developed a set of drawings by his father, Joris, who was a designer-inventor of subsequent illustrations. The drawings were created during Joris Hoefnagel's stay in Munich in 1591. Their graphic design and publication in Frankfurt am Main (in 1592) was the first artistic endeavour of Jacob, who was then beginning his career as a court artist for Rudolf II.
Flowers, insects, snails and a caterpillar (1591/1592) by Georg Joris HoefnagelThe National Museum in Krakow
This graphic series, dedicated to 'friends of the Muses,' blends botanical, zoological, biblical, and literary themes. Each print features a motto on divine creation.
Flowers, larvae and a rat and a dragonfly (1591/1592) by Georg Joris HoefnagelThe National Museum in Krakow
The content of the illustrations expresses the glory of God as the great Creator, glorified by even the smallest creatures. These engravings—metaphorically speaking—simultaneously talked about the insignificance of life and earthly affairs.
Two peacocks (1580/1610) by Adrian CollaertThe National Museum in Krakow
Collaert's Animal Prints
Adriaen Collaert's (c. 1560–1618) animal engravings, published by Claes Jansz Visscher, were popular series depicting zoological themes. These prints, first appearing around 1610, were later republished in Amsterdam.
Adriaen Collaert's illustrations have been included in various scientific compendiums. At the same time, carefully developed, stylized and impressive graphics maintained a high artistic and aesthetic level. The collections of the National Museum in Krakow include compositions from the collection of engravings entitled Avium vivae icones (30 boards with birds), Piscium vivae icones (125 boards with representations of fish species) and Animalium quadrupedum.
Birds - Ostriches and a pelican (?) (1580/1610) by Adrian CollaertThe National Museum in Krakow
When preparing his compositions, Collaert used drawings of various animal species, made ad vivum (from life), or copied, most often redrawn from other zoological-botanical compendia.
The graphic series were used as templates, helpful in composing paintings with animal themes. Compendiums containing illustrations of animals undoubtedly had a significant impact on the development of an important modern painting genre: still life. The influence of the work of authors such as Collaert can be seen in the art of the Netherlands of the 17th century.
Guinea pigs (1650/1700) by Bogdan teodor LubienieckiThe National Museum in Krakow
Teodor Bogdan Lubieniecki
Teodor Bogdan Lubieniecki (ca. 1653/54-ca. 1718/19) was a cosmopolitan Arian artist with a turbulent life. He worked in the Netherlands, Italy, and German-speaking countries, serving courts in Florence and Berlin.
This modest artwork features guinea pigs amidst southern fruits and foliage. Its creation date is uncertain, possibly from Lubieniecki's Italian period, when he worked as the court painter of Cosimo III de' Medici in Florence.
This painting's composition echoes Italian animalier artists like Agostino Cassana, known for picturesque depictions of domestic animals, a popular subject at the Medici court.
Hens and Guinea Pigs (1718/1720) by Giovanni Agostino CassanaThe National Museum in Krakow
Giovanni Agostino Cassana
Cassana began his artistic career in his hometown of Venice, later he worked at the Medici court in Florence, serving Prince Ferdinand III de' Medici. At the end of his life, he settled in Genoa. Cassana left behind numerous compositions depicting farm animals.
It was typical of his style to compose paintings in such a way as to create the impression of interaction in the yard or the pantry. It is similar to Cracovian paintings – a pair of decorative compositions in oval frames, called pendants.
Hens, a Pigeon and a Rabbit (1718/1720) by Giovanni Agostino CassanaThe National Museum in Krakow
Cassana's expertly painted animal scenes were popular in European markets. These 'pantry' depictions, featuring animal protagonists, often found their way into private collections.
Three swans (1580/1610) by Adrian CollaertThe National Museum in Krakow
From decoration to symbolism, animals in 16th-18th century art reflect evolving European knowledge and philosophy. Their depiction reveals much about the era's cultural values.
Filip Chmielewski
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