Death and the Woodcutter, 2nd plate (La mort et le bucheron)

Legros employed both intaglio processes: traditional acid etching for broader tonal areas and drypoint for the fine, velvety lines that define the figures and foliage. The contrast between deep shadows and illuminated surfaces creates a dense, atmospheric depth, while the meticulous rendering of the woodcutter’s attire and bark texture demonstrates the artist’s command of line and shading.

Born in France and later naturalised in Britain, Legros settled in London in 1863, where he became a pivotal figure in the 19th‑century revival of etching. *Death and the Woodcutter* reflects his mature period in England, though the work’s subsequent ownership trail is not extensively documented.

The print aligns with Romantic interests in the sublime and the macabre, echoing contemporary literary and visual preoccupations with death as a dramatic, moralizing presence. Its forested backdrop and stark chiaroscuro echo the mood of Romantic landscape art while maintaining a narrative focus typical of allegorical prints.

Legros’s contribution to British printmaking helped re‑establish etching as a respected medium in the late 19th century. Works such as this plate illustrate his synthesis of French academic training and British artistic currents, influencing a generation of printmakers who followed his technical and thematic example.