Several insects such as a bees, butterflies, moths, ladybugs, beetles, and more, crawling on and around a fig branch.
Jan van Kessel the Elder, Insects and a Sprig of Rosemary, 1653, oil on copper, The Richard C. Von Hess Foundation, Nell and Robert Weidenhammer Fund, Barry D. Friedman, and Friends of Dutch Art, 2018.41.1

Upcoming Exhibition

Little Beasts: Art, Wonder, and the Natural World

Details

  • Dates

    -

  • Locations

    West Building, Ground Floor, Gallery 23

  • Ticketing Information

    Admission is always free and passes are not required

Experience the wonder of nature through the eyes of artists. Look closely at art depicting insects and other animals alongside real specimens.

Art played a pivotal role during the dawn of European natural history in the 16th and 17th centuries. Advancements in scientific technology, trade, and colonial expansion allowed naturalists to study previously unknown and overlooked insects, animals, and other beestjes, or “little beasts.”  Artists such as Joris Hoefnagel and Jan van Kessel helped deepen and spread knowledge of these creatures with highly detailed and playful works that inspired generations of printmakers, painters, decorative artists, and naturalists.

A delight for all ages, this exhibition features nearly 75 of these paintings, prints, and drawings in a unique presentation alongside specimens and taxidermy from the Smithsonian National Museum of Natural History. Learn about the rich exchange between artists and naturalists that sparked a fascination with earth’s living creatures, big and small. See how this intersection of art and science continues to inspire us today in a new film by artist Dario Robleto.

Video:  D.I.Y. Art: Clay Insects Inspired by Jan van Kessel

This miniature masterpiece is inspired by Jan van Kessel the Elder’s 1653 Insects and a Sprig of Rosemary, which features over ten insect species with impressive precision.

Video:  How to Style a Still Life Inspired by Jan Van Kessel's “Vanitas Still Life”

In this step-by-step guide, you’ll learn how to style a still life through key lessons on composition, lighting, and more, inspired by Jan van Kessel’s Vanitas Still Life.

Explore Selected Works

  • A sprig of flowering rosemary lying against an ivory-white background and the twelve insects that surround it fills this horizontal painting. Stretching nearly the length of the composition with the cut end to our left, the rosemary has blunted, needle-like, gently curling teal-green leaves and small periwinkle-blue flowers along the ash-brown stem. Several insects perch on the sprig while others are seen as if looking from overhead, resting on the white background. The three largest insects perch along the top of the sprig, with an ivory-white butterfly with moss-green and black markings to the left, a black and golden, fuzzy bumblebee near the center, and a lemon-yellow butterfly with red antennae to our right. A tiny red insect, perhaps a ladybug without spots, sits on a leaf between the bee and yellow butterfly, and a small wasp-like insect rests on a leaf in at the lower left. Another mosquito-like insect alights on the surface nearby, next to a beetle with a honey-orange body with black, almost tiger-like stripes. A large cockroach sitting near the lower right corner has six spindly legs, a mahogany-colored abdomen, a black thorax, and tiny, black head. Spaced somewhat evenly across the top of the panel are a brick-red, winged insect to the left, a mint-green, beetle-like bug near a moth patterned with bone white and black, and a black, fly-like insect to our right. Lit from the upper left, the rosemary and insects cast shadows on the surface. The artist signed and dated the work with gray in the lower left corner: “J v. kessel . . f. Ao 1653.”
  • A glass holding a loose bouquet of flowers set within an oval is surrounded by eight insects against an off-white surface in this vertical still life painting. It is impossible to tell whether the oval is an opening piercing the white surface or if the still life is an oval-shaped painting sitting on top of the white surface. The glass holding the flowers has straight, slightly flaring sides with a ring of textured knubs around the bottom third. Flowers in the glass include a white lily of the valley, yellow and purple violet, blue grape hyacinth, yellow narcissus, red poppy, upside-down cup-shaped pink snake’s head fritillary, and stems of greenery. The bouquet is lit from the left, and a ray of light focused by the glass falls across the back edge of the wooden ledge on which the glass sits. Two drops of water bead on the ledge, and the artist signed the front face of the ledge, “CLARA P.” The background behind the flowers within the oval is black. The bugs on the white surface are much larger in scale, painted precisely so anatomical details can be made out. Across the top are a dragonfly with a green body, a house fly with red eyes, and a dragonfly with a red body. A fuzzy caterpillar is to the left of the oval and a hornet is to the right. Across the bottom are a snail, a ladybug, and a beetle with a black body and red wings and legs.

Events

Introduction to the Exhibition

Little Beasts: Art, Wonder, and the Natural World

Celebrate opening day of Little Beasts: Art, Wonder, and the Natural World with this overview by artist Dario Robleto and exhibition curators Alexandra Libby, Brooks Rich, and Stacey Sell. 

Learn more

Organization
Organized by the National Gallery of Art, Washington with special cooperation from the Smithsonian National Museum of Natural History.

Curated by Alexandra Libby, senior advisor for curatorial and conservation initiatives; Brooks Rich, associate curator of old master and nineteenth-century prints; and Stacey Sell, associate curator of old master drawings, all of the National Gallery of Art.

Sponsors
Major support for the exhibition has been provided by Barry D. Friedman.

The exhibition is also made possible through the generosity of the Virginia Cretella Mars Endowment Fund, the Eugene V. and Clare E. Thaw Charitable Trust, and the Director’s Circle of the National Gallery of Art.

Additional support is provided by Denise Gwyn Ferguson and Daniel W. Hamilton.

The accompanying publication is supported through a generous grant from the Robert Lehman Foundation.

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