Who painted The Prodigal Son, 4th plate (L'enfant prodigue)?

The Prodigal Son, 4th plate (L'enfant prodigue) was painted by Alphonse Legros in 1874.

Where can I see The Prodigal Son, 4th plate (L'enfant prodigue)?

The Prodigal Son, 4th plate (L'enfant prodigue) is held by National Gallery of Art.

What movement is The Prodigal Son, 4th plate (L'enfant prodigue)?

The Prodigal Son, 4th plate (L'enfant prodigue) is associated with Romanticism.

Artwork

The Prodigal Son, 4th plate (L'enfant prodigue)

Alphonse Legros , 1874

The Prodigal Son, 4th plate (L'enfant prodigue) 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. Created in 1874, *The Prodigal Son, 4th plate* is a bistre‑toned print that combines etching with drypoint.

About this work

Overview

Created in 1874, *The Prodigal Son, 4th plate* is a bistre‑toned print that combines etching with drypoint. The work belongs to the series interpreting the biblical parable of the wayward son, and it is executed on a single copper plate that was inked and pressed onto paper.

Subject & Meaning

The image isolates a solitary tree whose gnarled limbs and exposed roots dominate a cracked, uneven terrain. The stark, almost desolate setting evokes the isolation and repentance associated with the prodigal’s return, using the barren landscape as a visual metaphor for spiritual desolation.

Technique & Style

Legros employed intaglio methods, first incising the composition with drypoint to achieve deep, textured lines that retain a raw immediacy, then complementing them with etched areas to build tonal depth. The bistre wash, applied through aquatint, unifies the scene in a muted brown, emphasizing the harshness of the environment while preserving fine line work.

History & Provenance

French‑born Alphonse Legros, who settled in Britain and taught at the Royal Academy Schools, was a central figure in the late‑19th‑century British etching revival. This plate was part of his teaching output and was likely circulated among his students and collectors of the period, reflecting his role in promoting printmaking as a serious artistic practice.