This style is apparent in works the below, held by the Metropolitan Museum of Art:
This is titled: Child Climbing a Chair to Reach for a Kitten.
Here are some highlights of Frølich's career:
'He was the son of wholesaler Johan Jacob Frølich and Vilhelmine Pauline... Despite family opposition, he was allowed to...[pursue his] art, and as a child he was taught by Martinus Rørbye , Herman Wilhelm Bissen and most recently Christoffer Wilhelm Eckersberg and Christen Købke . In 1840 he traveled to... art schools in Munich and Dresden . He was home in 1845 and [then] returned to Dresden and in 1846 on to Rome . Here he stayed for five years. In 1851 he went to Paris, visited Denmark in 1854 and returned to Paris...His numerous illustrations for French children's books meant that a French children's book was called ...[a] Froelich.
'In 1855 [Frolich] married in Paris ....[and] lived [there, though his wife died at some point.] .... From 1873 he lived in Denmark and married in 1878 ...[a] widow ...'
A more detailed glimpse is given by these notes here:
'Much of Frølich's earlier work was for various calendars in Leipzig and Dresden. In 1845 he came to Dresden and in 1846 he wrote to his friends in Florence and Copenhagen that he had had plans of designing a new dance of death: "… then I had begun a death's dance for woodcuts, but I got hung up on some cursed philosophical ideas, upon which the whole was stuck; after that I have designed around hundred major and minor drawings for Wigand's bookshop in Leipzig to illustrate a 'Jugend-Calendar', which has received much applause ."
'Part of the story about the unfinished dance of death is that Frølich in 1845 sent one of the designs home to his father who passed it on to the young woodcutter, Hans Christian Henneberg (1826-1893). In January 1846 the father could return a print of Henneberg's woodcut. ...
This is titled: Child Climbing a Chair to Reach for a Kitten.
Here are some highlights of Frølich's career:
'He was the son of wholesaler Johan Jacob Frølich and Vilhelmine Pauline... Despite family opposition, he was allowed to...[pursue his] art, and as a child he was taught by Martinus Rørbye , Herman Wilhelm Bissen and most recently Christoffer Wilhelm Eckersberg and Christen Købke . In 1840 he traveled to... art schools in Munich and Dresden . He was home in 1845 and [then] returned to Dresden and in 1846 on to Rome . Here he stayed for five years. In 1851 he went to Paris, visited Denmark in 1854 and returned to Paris...His numerous illustrations for French children's books meant that a French children's book was called ...[a] Froelich.
'In 1855 [Frolich] married in Paris ....[and] lived [there, though his wife died at some point.] .... From 1873 he lived in Denmark and married in 1878 ...[a] widow ...'
A more detailed glimpse is given by these notes here:
'Much of Frølich's earlier work was for various calendars in Leipzig and Dresden. In 1845 he came to Dresden and in 1846 he wrote to his friends in Florence and Copenhagen that he had had plans of designing a new dance of death: "… then I had begun a death's dance for woodcuts, but I got hung up on some cursed philosophical ideas, upon which the whole was stuck; after that I have designed around hundred major and minor drawings for Wigand's bookshop in Leipzig to illustrate a 'Jugend-Calendar', which has received much applause ."
'Part of the story about the unfinished dance of death is that Frølich in 1845 sent one of the designs home to his father who passed it on to the young woodcutter, Hans Christian Henneberg (1826-1893). In January 1846 the father could return a print of Henneberg's woodcut. ...
'All in all it seems Frølich only finished 6 designs, which today reside in Dresden's Kupferstichkabinett. Two of those are cut by Henneberg, viz. the mountain dweller carrying Death on his back ... and the skipper of the river craft with Death blowing the horn. '
The same link right above has more illustrations of the art of Lorenz Frølich .
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