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← Albrecht Dürer Albrecht Dürer — The Adoration of the Magi (1511)

The Adoration of the Magi (1511)

Original title: The Adoration of the Magi

Artist
Albrecht Dürer
Date
1511
Medium
Woodcut
Dimensions
sheet: 11 1/2 x 8 5/8 in. (29.2 x 21.9 cm) trimmed to block line
Credit line
Gift of Junius Spencer Morgan, 1919

kurzbeschreibung

Albrecht Dürer's woodcut 'The Adoration of the Magi' from 1511 presents the homage of the Three Kings before the Christ child. Mary with the infant sits on the right, the kings kneel on the left, and between them the suggestion of a ruined church appears. Printed in Nuremberg, the sheet belongs to the single-leaf prints Dürer published around 1511.

Description

Three kings kneel in sumptuous robes on the left half of the image, inclining toward the child who sits on Mary's lap on the right. Above the group an dilapidated church arches, and a star shines in the sky. The layout balances: left the figures of the kings, right Mary, between them ruined architecture. Thin lines and careful hatching shape the bodies and create depth. Black and white govern the image, with varying density of strokes suggesting light and shadow.

Context

By 1511 Dürer had already issued several woodcut series, including the 'Apocalypse' (1498) and the 'Large Passion' (c. 1497–1510). During this period he devoted himself increasingly to printmaking. The Adoration motif was popular in the Renaissance and often served to display artistic skill. Dürer worked in Nuremberg, where his woodcut style attracted international attention. This sheet is among a group of single prints that appeared around 1511.

Impact

Clear lines and a calm, dignified arrangement define the print and make the action easy to read. The balanced distribution of figures and the precise rendering of architecture produce a solemn, devotional mood that emphasizes the significance of the moment.

Technique

The restriction to pure black and white turns line alone into the bearer of light and shadow, so that varying hatching densities model volume and depth without any colour. This economy of means gives the scene its graphic clarity, concentrating expression in the rhythm of strokes rather than in tonal richness.

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