Death and the Woodcutter, 4th plate (La mort et le bucheron)

Art Historical Context

Alphonse Legros, a French-born artist who later became a prominent figure in British art circles, created *Death and the Woodcutter 4th plate (La mort et le buon)* in the late 19th century.owned for his masterful etchings, Legros drew inspiration from 17th-century masters like Rembrandt, blending Realism with a poetic sensitivity to light and texture. This print, housed in the National Gallery of's Department of Prints (CG-E was generously gifted by George Matthew Adams in memory of his mother, Lydiaens Adams, highlighting the era's appreciation for fine printmaking. Executed in etching and drypoint—a technique where the artist scratches directly into the plate for rich, velvety burr lines that capture subtle tones—this work exemplifies Legros's technical virtuosity. Etching allowed for precise, intricate details, while drypoint added an expressive, painterly quality, making prints like this accessible yet profound alternatives to paintings. The title evokes a timeless moral tale, likely depicting Death encountering a humble woodcutter, a motif rooted in European folklore that explores themes of mortality and human labor. Legros's contributions to etching revitalized the medium during a 19th-century renaissance, bridging French Realism and the British etching revival. For visitors, this intimate plate offers a window into Victorian-era reflections on life's transience, rendered with haunting elegance.

About the Artist

Alphonse Legros · 1837–1911

Alphonse Legros (1837–1911) was born in Dijon, France, and trained in Paris at the drawing school of Horace Lecoq de Boisbaudran, whose unconventional teaching method — which emphasised memory drawing and acute observation over academic convention — would leave a lasting mark on Legros's practice. At Lecoq's school he formed friendships with Jules Dalou and Auguste Rodin that endured throughout hi...