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← Albrecht Dürer Albrecht Dürer — Apocalypsis cum Figuris (1511, Met-Objekt 205)

Apocalypsis cum Figuris (1511, Met-Objekt 205)

Original title: Apocalypsis cu Figuris

Artist
Albrecht Dürer
Date
1511
Medium
Woodcut
Dimensions
20 1/16 × 15 3/8 × 5/8 in. (51 × 39.1 × 1.6 cm)
Credit line
Gift of Mortimer L. Schiff, 1918

kurzbeschreibung

Albrecht Dürer's woodcut Apocalypsis cum Figuris, dating from 1511, portrays the Evangelist John in his study. This print forms part of the celebrated Apocalypse series, which illustrates the final book of the Bible. It is a black-and-white work measuring roughly 51 by 39.1 centimeters.

Description

A seated man holds a book in one hand while the other rests on a table or pedestal. He wears a head covering reminiscent of a bishop's crozier, and his expression appears thoughtful or troubled. A window behind him opens onto a landscape with mountains and a river or lake. To the right, a shelf holds books and other objects. At the bottom of the image runs the Latin text "Magister Magnus S.p. Pfess." The arrangement is symmetrical, with the seated man at its center.

Context

The Apocalypse series first appeared in 1498 and saw a second edition in 1511. This woodcut belongs to the later phase of that series, which Dürer established as an independent book project in the art market. John is shown in a contemporary study, linking the biblical vision to the lived world of the early sixteenth century. Dürer used printmaking to reach a broad audience, an innovative move for his time.

Impact

Precise lines and a clear structure give the sheet a calm, contemplative aura. The monochrome palette directs attention to the fine internal drawing and the sitter's facial expression. The contrast between interior and landscape creates spatial depth that draws the viewer into the scene.

Technique

Dürer erzeugt Licht und Schatten allein durch die Dichte und Richtung der geschnittenen Linien, die in Parallel- und Kreuzschraffuren Tonwerte aufbauen. Feine, eng geführte Linien modellieren Gesicht, Gewand und Innenraum, während offene Flächen das durch das Fenster einfallende Licht andeuten. So entsteht trotz der monochromen Anlage eine differenzierte räumliche Wirkung.

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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)