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The Lovers Surprised by Death, 1510. Creator: Hans Burgkmair (German, 1473-1531)
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The Lovers Surprised by Death, 1510. Creator: Hans Burgkmair (German, 1473-1531)
The Lovers Surprised by Death, 1510. This is the earliest known chiaroscuro woodcut to be composed of a line block and two tone blocks rather than just one tone block. However, unlike the majority of German chiaroscuro woodcuts, the line block alone does not provide a coherent image. All three of the blocks must be printed for the design to be complete. The subject is a remarkably effective combination of a typically Northern subject-a grim representation of Death-and an evocative Italian setting. The classical architecture, the gondola on a canal, and the distinctively wide chimney pots indicate Venice, where Burgkmair would have stayed during his presumed journey to Italy in 1507. The figure of Death is winged, as in Italian art of the period, and the classical costumes and pose of the terrified woman resemble antique representations of Daphne fleeing Apollo, a reflection of what interested Burgkmairs patrons, the educated elite in Augsburg
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Media ID 19644478
© Heritage Art/Heritage Images
1473 1531 Chiaroscuro Woodcut Hans Burgkmair Hans Burgkmair German
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The Lovers Surprised by Death, 1510
EDITORS COMMENTS
is a captivating print that showcases the artistic genius of Hans Burgkmair. This particular piece stands out as the earliest known chiaroscuro woodcut composed of a line block and two tone blocks, adding depth and complexity to the image. Unlike other German chiaroscuro woodcuts, this masterpiece requires all three blocks to be printed in order for the design to come alive. The subject matter itself is an intriguing blend of Northern and Italian influences. The grim representation of Death, a typically Northern theme, merges seamlessly with an evocative Italian setting. The classical architecture, the presence of a gondola on a canal, and distinctively wide chimney pots all point towards Venice - a city where Burgkmair likely stayed during his journey to Italy in 1507. One cannot help but notice the winged figure of Death reminiscent of Italian art from that period. The terrified woman's classical costumes and pose bear resemblance to antique depictions of Daphne fleeing Apollo. It is evident that Burgkmair's patrons were educated elites from Augsburg who appreciated such cultural references. This print captures not only Burgkmair's technical mastery but also his ability to merge different artistic traditions into one compelling composition. With its rich symbolism and intricate details, "The Lovers Surprised by Death" continues to captivate viewers centuries after its creation.
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