Who painted Death and the Woodcutter, 3rd plate (La mort et le bucheron)?

Death and the Woodcutter, 3rd plate (La mort et le bucheron) was painted by Alphonse Legros in 1874.

Where can I see Death and the Woodcutter, 3rd plate (La mort et le bucheron)?

Death and the Woodcutter, 3rd plate (La mort et le bucheron) is held by National Gallery of Art.

What movement is Death and the Woodcutter, 3rd plate (La mort et le bucheron)?

Death and the Woodcutter, 3rd plate (La mort et le bucheron) is associated with Romanticism.

Artwork

Death and the Woodcutter, 3rd plate (La mort et le bucheron)

Alphonse Legros , 1874

Death and the Woodcutter, 3rd plate (La mort et le bucheron) is an ink print by the Romanticist artist Alphonse Legros. It dates from 1874 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1874, *Death and the Woodcutter, 3rd plate* is an etched print by Alphonse Legros. The work presents a stark confrontation in a forest, where a skeletal figure representing Death looms over a woodcutter. Rendered in monochrome, the composition relies on line and texture to convey tension within a natural setting.

Subject & Meaning

The image juxtaposes mortality and labor: a woodcutter lies supine, arms outstretched, while a looming presence—interpreted as Death—stands poised with an axe. The fallen figure’s serene expression contrasts with the threatening posture of the standing figure, suggesting an ambiguous dialogue between the inevitability of death and the calm acceptance of one’s fate.

Technique & Style

Legros employed traditional intaglio etching, incising fine, tangled lines into a copper plate to produce a dense, almost scratch‑like surface.

Legros employed traditional intaglio etching, incising fine, tangled lines into a copper plate to produce a dense, almost scratch‑like surface. The overlapping hatching creates deep shadows and a sense of movement, while the stark contrasts emphasize the forest’s chaotic foliage and the starkness of the two figures. The technique allows for intricate texture within a relatively compact composition.

History & Provenance

Born in France and naturalised as a British citizen after settling in London in 1863, Legros was instrumental in reviving British etching through his teaching at the Royal Academy. This particular plate, part of a series, reflects his broader interest in moral and allegorical subjects. The print has been held in several public collections, illustrating Legros’s lasting influence on 19th‑century printmaking.