Das Gastmahl des Trimalchio: pl. XI (The Banquet of Trimalchio: pl. XI) 1919

Lovis Corinth made this etching, The Banquet of Trimalchio, probably sometime around the early 20th century, using a drypoint technique that feels both immediate and ancient. The marks are direct, like a quick sketch from life, but the subject matter is drawn from classical literature, so it's a real mix of then and now. The etching is all about the line. See how Corinth uses these delicate, almost hesitant scratches to define the figures? The lines are thin and wavering, giving a sense of movement and instability, which fits the chaotic scene of a Roman banquet. The contrast between the detailed faces and the more loosely defined bodies is super interesting; it’s like he’s focusing on the expressions, the emotions, rather than perfect anatomical accuracy. Look closely at the figure draped in a toga, standing almost centrally – the lines there are a bit bolder, giving him a sense of weight and presence. You can see how Corinth is playing with depth and form, using the simplest of means. It reminds me a bit of Goya's etchings, that same dark humor and willingness to show the less flattering side of humanity. Ultimately, it's a reminder that art doesn't need to be polished to be powerful.