Arnold Böcklin’s painting Self-Portrait with Death Playing the Fiddle (1872) is a self-portrait reflecting his interest in the theme of death. It is thought to have been inspired by the Sir Brian Tuke painting created in 1540. It is currently exhibited at the Alte Nationalgalerie in Berlin.

In the work, Böcklin is depicted with a serious and focused expression, looking directly at the viewer. Directly behind him, a skeletal figure is positioned as if playing a fiddle and whispering into the artist’s ear. It is observed that three strings of the fiddle are broken. The only remaining string is the G string, which, when played, produces a bell-like tone. The breaking of the three strings can be directly associated with the Three Fates myth that governs the process of human life from birth to death. In ancient mythology, the Fates respectively spin, unravel, and cut the thread of life. Not even the gods could intervene in this process. Böcklin was aware of this inevitable end; for the breaking of the last string signified the end of his life.

The Death figure, as one of the dominant elements of the scene, is shown as having the situation under control. Its smirking expression resembles a diabolical smile, and its presence becomes a symbol of inevitable victory. Böcklin’s posture and expression indicate that he could not avoid listening to this deadly melody. The painter does not establish direct eye contact with the viewer; instead, he focuses on the monotonous sound produced by the fiddle. This scene forms a symbolic narrative of sound and color; the music, which heralds the inevitable arrival of death, signifies the playing of the final note and the attainment of eternal cessation.

^{Arnold Böcklin's Self-Portrait with Death Playing the Fiddle (Source: Staatliche Museen zu Berlin, Nationalgalerie / Andres Kilger)}

Techniques

The techniques used in the painting reflect a combination of the academic painting tradition of the period with the Symbolist approach. In this self-portrait, created using oil on wood, chiaroscuro is employed to give volume to the figures. While Böcklin directs light directly onto his face to emphasize his features and expression, he leaves the Death figure in the background shrouded in shadows, thereby adding dramatic depth to the composition.

He adopted a careful and controlled approach in his brushstrokes to ensure the anatomical accuracy of the figures. Especially in depicting his own face, he used a detailed style, rendering the skin texture and expression with subtle tonal transitions. The brushstrokes display a soft, layered structure, while for the Death figure in the background, more indistinct and blurred transitions were preferred. The softness of the transitions and the avoidance of sharp lines is due to the sfumato technique Böcklin used in the background. This technique increases the perceived distance between the figures and enhances the theatrical effect of the scene. Böcklin’s color palette consists of dark and earthy tones, which creates an atmosphere fitting the theme of death.