The Death of Adonis

Dublin Core


The Death of Adonis


Waterloo's Italianate influences figure prominently in "The Death of Adonis." While the work is undated, we can assume he produced it after his possible sojourn to Italy between 1655 and 1660. His use of line boasts a tense balance between precise control and dynamic movement, akin to the painterly effects of Caravaggio's works. Waterloo makes facile use of the etching medium by using a more shallow bite in the background, creating a realistic sense of spatial depth and atmospheric perspective. He also exploits the tonal capabilities of the technique to create a subtle Baroque sense of soft, filtered light within the landscape scene. The intricate lines of the large tree contrast with the small opening where Adonis' supine body is positioned on the ground, which appears to have a diffused beam of light cast upon it. This juxtaposition draws the eye of the viewer from the swarming detailed background with the massive tree to the restful, calm area featuring the dying Adonis. Waterloo's skillful use of Baroque diagonals further reinforces the pictorial focus on the body of the tragic mythological hero.


Waterloo, Anthonie


Still Image






Waterloo, Anthonie, “The Death of Adonis,” Artistic Treasures from the Knox College Special Collections & Archives, accessed September 18, 2018,