British Museum blog

‘Eerie’ innovation from the seventeenth century

An Van Camp, curator, British Museum

If you visit Room 90 on the fourth floor here at the British Museum, you will find a display of some of the stranger prints in our collection. Hercules Segers and his printed paintings, is on show just outside the study room of the Prints and Drawings department and is a rare outing of the unusual and weird-looking etchings created by this visionary printmaker. Honestly, they attract the amazement of everyone who lays eyes on them.

Distant view with a mossy tree branch

Distant view with a mossy tree branch

Hercules Segers lived and worked at the beginning of the seventeenth century. He created prints that looked completely different from anything that came before. While other printmakers tried to make identical impressions of their engraved works in order to distribute them to a large market, Segers wanted to create unique works of art.

Every single one of his prints looks entirely different from any other one and the eeriness and desolation they emit makes them stand out from other artists’ work from the same period. This is because, after the printing process, Seger’s hand-coloured most of his works in a wide range of colours, from aubergine purple to olive green (see Distant view with a mossy tree branch: S.5528), while the etched lines are often printed in blues, greens or even bright turquoise (see River valley with a waterfall: S.5519). While most prints of the time were made by applying black to white background, he went against the grain and printed one of his etchings in white on a black background (see Ruins of the Abbey of Rijnsburg: 1854,0628.73).

Segers also invented a completely new printmaking technique called sugar-lift etching, creating darker areas within the landscapes which look grainy upon closer inspection and evoke a sense of the supernatural (see Rocky mountains with a plateau: S.5521).

It is no surprise that when I became curator of Dutch and Flemish drawings and prints in 2010 I was itching to share my passion for this eccentric artist with the Museum’s visitors who I am sure will grow to love his colourful works.

Hercules Segers and his printed paintings is in Room 90 until 16 May, and An Van Camp will be giving a gallery talk on 3 May.
Read more about Segers’ printmaking techniques.

If you would like to leave a comment click on the title

Filed under: Collection, Exhibitions, What's on, ,

One Response - Comments are closed.

  1. Always loved the sugar-lift process in art school.
    Great to learn about the work of the originator of the process.


Enter your email address to follow this blog and receive notifications of new posts by email.

Join 14,930 other followers


Follow @britishmuseum on Twitter

British Museum on Instagram

You can now discover thousands of British Museum objects in partnership with @googleartproject at We’ve asked staff members to highlight their favourites and explain what makes them special. Chris Spring, Curator of Africa Collections, describes why he finds the ‘Throne of weapons’ so powerful. ‘This war memorial celebrates the ordinary people of Mozambique, many of them unarmed, who stood up to a culture of violence. It represents both a human tragedy and a human triumph. The Throne's essential humanity is suggested right away by its anthropomorphic qualities - it has arms, legs, a back and most importantly a face - actually two faces. My first reaction was that these faces are crying in pain, though they could also be seen as smiling faces finally freed from conflict. These anthropomorphic qualities also link it immediately to the arts of Africa, in which non-figurative objects such as chairs, stools, weapons, pots etc are seen as - and described as - human beings. The Throne has toured the world, taking its message of peace to schools, churches, shopping centres and even prisons – and of course, to museums and galleries.’ #MuseumOfTheWorld We’re celebrating our partnership with @googleartproject, and have asked curators to tell us about their favourite objects. Hugo Chapman, Keeper of Prints and Drawings, explains why he chose this chalk drawing by Michelangelo. ‘One of the things I love about drawings is the way they sometimes allow a glimpse into the private, behind the scenes world of an artist, one unseen in finished works in paint or stone. An example of that is a red chalk drawing by Michelangelo of grotesque heads in red chalk that reveal that the Florentine Renaissance artist had a lively, if caustic, sense of humour. The three heads were probably drawn to amuse but at the same instruct his pupils, as the three studies show how slight changes can radically alter the reading of an image with the character and mood of each figure (paranoid anxiety; vacuous joy; and depressive gloom) signalled by the position and erectness of their donkey-like ears.  I wish my ears were as expressive.’ Discover many more incredible works of art in the Google Cultural Institute at

#Michelangelo #art To celebrate our partnership with @googleartproject, we’ve asked members of British Museum staff to highlight their favourite objects and explain what makes them special. Jill Cook, Deputy Keeper of Britain, Europe & Prehistory, chose this stone chopping tool from an early human campsite in Olduvai Gorge, Tanzania. ‘Holding this 2 million year old African tool in my hand I am reminded that whatever differences exist between people now, we are united by our common origin in Africa. The discovery of this piece by Louis Leakey in 1931 began to change our understanding of what makes us human. It illustrates the beginning of a transition from an ancestral ape that walked upright on two legs within the confines of a limited ecological niche to humans with more complex brains capable of changing and eventually dominating the world around us by making tools and weapons. This chopping tool is one of the seeds from which all human cultures and societies have grown.’ Discover the stories of thousands of objects in the Google Cultural Institute at

#MuseumOfTheWorld In Victorian England many people were fascinated by their past, and the ancient tribal leader Caratacus (also spelt Caractacus) was adopted as a symbol of national pride and independence. Like Boudica, Caratacus resisted the Roman invasion of Britain. Although he was eventually defeated, he earned a reputation as a noble and worthy foe. The Victorian sculptor J H Foley portrays him here standing triumphant, the embodiment of courageous English spirit. See this incredible #Movember moustache in our #Celts exhibition, until 31 January 2016.
J H Foley (1818–1874), Caractacus. Marble, 1856–1859. On loan from Guildhall Art Gallery/Mansion House, City of London. Some more #Movember inspiration! Here’s the Museum’s security team from 1902 photographed on the front steps. They include officers from the Metropolitan Police, and the London Fire Brigade (identified by their flat caps). We’re celebrating #Movember with Museum moustaches great and small. Here’s a #Movember fact: Peter the Great of Russia introduced a beard tax in 1698 and this token was given as proof of payment!

Get every new post delivered to your Inbox.

Join 14,930 other followers

%d bloggers like this: