A stark, expressive drypoint etching from Lovis Corinth's 1921 Dance of Death portfolio, exploring the memento mori theme through raw, gestural lines.

This drypoint etching, Death and the Youth, belongs to the portfolio Totentanz (Dance of Death), produced by Lovis Corinth in 1921. The series engages with the traditional memento mori motif, a subject that gained renewed urgency in the aftermath of the First World War. Corinth, a central figure in the transition from Impressionism to Expressionism, employs a raw, gestural line quality that reflects his late-career style.

The composition presents a direct encounter between a young man and a skeletal figure. Corinth avoids the polished finish of academic printmaking, favouring instead a spontaneous, almost frantic application of the needle. The marks are jagged and immediate, conveying a sense of psychological tension rather than mere anatomical accuracy. The youth appears contemplative, his gaze directed towards the skull held in his hands, while the skeletal form remains an extension of his own physical presence. This interplay between the living and the dead is rendered with minimal background detail, forcing the viewer to focus entirely on the interaction of the two figures.

Corinth’s approach to the Dance of Death theme is personal and unvarnished. By the time he created this portfolio, his health was failing, and his work became increasingly preoccupied with mortality. The etching demonstrates his ability to distil complex existential themes into a singular, stark image. The lack of tonal shading in the background creates a flat, immediate space, typical of his later graphic works. This print offers a clear example of how Corinth utilised the medium of etching to capture the immediacy of his own hand, resulting in a work that feels both historical in its subject matter and modern in its execution.