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← Albrecht Dürer Albrecht Dürer — The Virgin Appearing to Saint John, frontispiece to "The Apocalypse"

The Virgin Appearing to Saint John, frontispiece to "The Apocalypse"

Original title: The Virgin Appearing to Saint John, frontispiece to "The Apocalypse"

Artist
Albrecht Dürer
Date
1511
Medium
Woodcut
Dimensions
sheet: 7 1/4 x 7 3/16 in. (18.4 x 18.3 cm)
Credit line
Gift of Junius Spencer Morgan, 1919

kurzbeschreibung

In 1511 Albrecht Dürer made this woodcut as the frontispiece to his "Apocalypse." It shows the enthroned Madonna and Child, surrounded by rays, along with St. John holding a book and an eagle. The print is a single-color woodcut measuring 18.4 x 18.3 cm.

Description

At the center the crowned Madonna sits enthroned with the Child on her lap, while vertical rays create a bright light around her. To her left, St. John the Baptist sits on a cloud; he holds a book, and beside him stands an eagle as his symbol. John has short curls and a thick beard. Horizontal lines cover the background, producing a structured surface. Black and white dominate the entire image.

Context

This woodcut was made in 1511 as part of Dürer's "Apocalypse," a series of illustrations to the Revelation of St. John. Dürer published the work in Nuremberg, where he ran his own workshop. The "Apocalypse" is among the first books that an artist published and distributed himself. The pairing of the Madonna and John refers to the seer's vision on Patmos.

Impact

The clear linework and calm layout give the print a solemn, almost meditative presence. The contrast between the luminous bands of light and the plain structure of the background draws the eye to the central group of figures. The restriction to black and white emphasizes the graphic precision and dramatic expressiveness of the woodcut.

Technique

Dürer builds the entire scene from nothing but the presence or absence of carved lines, so that tone, light and shade emerge purely from their spacing and direction. In the radiant halo around the Madonna, closely packed parallel strokes concentrate into a blaze of white, while the simple horizontal hatching of the background recedes into quiet texture. The result is a monochrome image in which modelling and depth are achieved entirely through the calibrated rhythm of the line.

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