Who painted Death of the Virgin?

Death of the Virgin was painted by Robert van Audenaerd in 1703.

Where can I see Death of the Virgin?

Death of the Virgin is held by National Gallery of Art.

What movement is Death of the Virgin?

Death of the Virgin is associated with Baroque.

Can I buy a print of Death of the Virgin?

Museum-quality prints of Death of the Virgin are available made-to-order from Artifact World Gallery.

Artwork

Death of the Virgin

Robert van Audenaerd , 1703

Death of the Virgin is an ink print by the Baroque artist Robert van Audenaerd. It dates from 1703 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower left in plate: Carolus Marratus vivent et Pinx; lower right in plate: R.V.AudenAert Sculp. Rome Sup. perm.; across bottom in plate inscription in 4 lines broken by coat of arms

About this work

Overview

The composition centers on a reclining female figure, identified as the Virgin Mary, surrounded by a halo and a modest sheet.

Robert van Audenaerd’s 1703 print, titled Death of the Virgin, is an etching and engraving executed on laid paper. The composition centers on a reclining female figure, identified as the Virgin Mary, surrounded by a halo and a modest sheet. A group of robed mourners gathers around her, while a candle, a book, and a small container lie in the foreground, all set against a deep, shadowy backdrop that reinforces the solemn atmosphere.

Subject & Meaning

The image depicts the moment of the Virgin’s passing, a narrative frequently treated in Baroque visual culture. The halo signals her sanctity, while the attentive witnesses, clergy and attendants, express collective grief. Objects such as the candle suggest the presence of prayer, and the book may allude to the Scriptures, together framing the scene as both a devotional meditation on mortality and a testament to the Virgin’s holy status.

Technique & Style

Van Audenaerd combines etching and engraving to achieve a range of tonal effects on the laid paper surface. Fine lines render delicate details of the drapery and facial expressions, while deeper incisions create the stark chiaroscuro that characterizes Baroque aesthetics. The contrast between illuminated foreground elements and the enveloping darkness heightens the emotional intensity without relying on color.

History & Provenance

Created in the early eighteenth century, the print reflects the continued interest in Marian subjects after the Counter‑Reformation. Though specific ownership records are scarce, the work has been catalogued among van Audenaerd’s prints that circulated in Dutch artistic circles, contributing to the broader dissemination of Baroque devotional imagery across Northern Europe.