Who painted The Large Miseries of War: Enrollment of the Troops?

The Large Miseries of War: Enrollment of the Troops was painted by Jacques Callot in 1633.

Where can I see The Large Miseries of War: Enrollment of the Troops?

The Large Miseries of War: Enrollment of the Troops is held by Cleveland Museum of Art.

What movement is The Large Miseries of War: Enrollment of the Troops?

The Large Miseries of War: Enrollment of the Troops is associated with Baroque.

Artwork

The Large Miseries of War: Enrollment of the Troops

Jacques Callot , 1633

The Large Miseries of War: Enrollment of the Troops is a print by the Baroque artist Jacques Callot. It dates from 1633 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Jacques Callot’s 1633 print, The Large Miseries of War: Enrollment of the Troops, presents a bustling military recruitment scene. Executed as an etching, the work is part of the Cleveland Museum of Art’s collection. The composition captures a dense line of armed men advancing past a group of well‑dressed observers, set against an urban backdrop with a fence and a stark, twisted tree.

Subject & Meaning

The image documents the compulsory enlistment of soldiers during a period of conflict, emphasizing the strain on ordinary individuals forced into service. The juxtaposition of weary troops with affluent onlookers suggests a commentary on social disparity and the burdens of war imposed on the lower classes while the elite remain detached.

Technique & Style

Callot employs fine, incisive lines characteristic of Baroque printmaking, creating a sense of movement and tension. The densely rendered spears, flags, and crowded figures convey chaos, while the scratched texture adds dynamism. The contrast between the cramped military column and the relatively relaxed spectators heightens the dramatic intensity typical of the era.

History & Provenance

Created in 1633, the etching reflects Callot’s interest in the human cost of warfare, a theme he explored in several series. The print entered the Cleveland Museum of Art’s holdings in the 20th century, where it remains a representative example of early modern European print culture and Callot’s social commentary.