Apocalypsis cum Figuris
Original title: Apocalypsis cu Figuris
kurzbeschreibung
This woodcut, created by Albrecht Dürer in 1511, depicts a scholarly figure in an interior, possibly Saint John the Evangelist, holding a book and gesturing toward a window. The scene is part of Dürer's renowned series illustrating the Book of Revelation.
Description
The composition centers on a seated man wearing a bishop-like mitre and a long-sleeved robe, holding an open book in one hand while the other hand points outward. Behind him, a window reveals a landscape with mountains and a river, and to the right of the window stands a figure holding an object. Below the window, a table is set with various items, and at the bottom edge of the print, the text 'Magister Magnus S.p. Pfess.' is inscribed. The image is monochromatic, with strong contrasts between the bold black lines and the unprinted white areas, typical of woodcut technique.
Context
Dürer published the first edition of the 'Apocalypsis cum Figuris' in 1498, and this 1511 edition was a second printing with Latin text. The series was groundbreaking in the history of printmaking, as it combined text and image on the same page, making the biblical narrative accessible to a broader audience. The figure depicted is traditionally identified as Saint John, who authored the Book of Revelation, though the exact scene and its iconography have been the subject of scholarly debate.
Impact
The print's precise linework and balanced composition draw the viewer's eye to the central figure, whose gesture invites contemplation. The contrast between the dark interior and the bright landscape through the window creates a sense of depth and spiritual insight, typical of Dürer's ability to convey complex theological ideas through visual means.
Technique
This work is a woodcut, a relief printing technique where the image is carved into a wooden block, inked, and then pressed onto paper. Dürer's mastery of the medium is evident in the fine, expressive lines and the careful management of white space, which gives the image a luminous quality. The use of uniform lighting and clear contours reflects the technical precision achievable in early 16th-century printmaking.
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Source: Metropolitan Museum of Art · Public domain (CC0)