The Rich Man in Hell, Seeing Lazarus Embraced by Abraham, from The Parable of the Rich Man and Lazarus

Art Historical Context

In Heinrich Aldegrever's 1554 engraving *The Rich Man in Hell Seeing Lazarus Embraced by Abraham*, visitors witness a vivid depiction from the New Testament parable in Luke 16. The scene contrasts the torment of the wealthy man amid demons in the fiery pits of Hell with the comforting embrace of the poor beggar Lazarus by the patriarch Abraham in paradise. This moral tale warns of divine judgment, emphasizing charity and humility—timely themes during the Protestant Reformation, when such imagery reinforced ethical teachings across Europe. Aldegrever, a masterful German engraver of the Northern Renaissance and one of the "Little Masters," excelled in petite, intricate prints like this 3 1/8 × 4 3/16 in. sheet. His engraving technique—incising fine lines into a metal plate for inked impressions—allowed for exceptional detail in demonic figures, swirling flames, and expressive faces, making complex theology accessible through affordable reproductions. Housed in the Metropolitan Museum of Art's Drawings and Prints department (gift of Henry Walters, 1917), this work highlights printmaking's role in 16th-century visual culture, disseminating biblical narratives to the masses and sparking reflection on life's eternal stakes. A poignant reminder of Renaissance artistry's moral power!

About the Artist

Heinrich Aldegrever · 1502–1561

Heinrich Aldegrever, born in 1502 in Paderborn, Westphalia, to parents Herman and Katherine Trippenmeker—a family of clog-makers known by the dialect name Trippenmecker—emerged as a multifaceted artist in the German Renaissance. His early training remains undocumented, though he likely apprenticed in a Soest goldsmith's workshop after relocating there around 1525, where he joined the painters' gui...