Albrecht Dürer
1471-1528 | German
The Betrayal of Christ
Monogrammed in the block “AD” (lower left)
Woodcut on laid paper with a tower and crown watermark
“Whatever was mortal in Albrecht Dürer lies beneath this mound.” — Albrecht Dürer’s epitaph
Widely celebrated as the greatest engraver and printmaker in history, Albrecht Dürer revolutionized woodcut design through his unparalleled precision, expressive composition and mastery of naturalistic detail. The Betrayal of Christ, from his Large Passion series, depicts the pivotal moment immediately following Judas Iscariot’s infamous kiss, as he withdraws from Christ’s side and the Roman soldiers move to seize him. Christ occupies the center of the monumental composition, calmly turning his gaze heavenward, tethered by ropes around his waist, while the surrounding figures thrash with urgent, violent energy, amplified by the varied angles of protruding weapons. In the lower left, Peter dramatically cuts off a soldier’s ear, highlighting the intensity of the scene and the human response to betrayal.
Dürer’s technical mastery is evident in the finely rendered textures of fabric, armor and foliage, as well as in the careful modulation of light and shadow to convey depth and drama. The composition’s dynamic arrangement of figures and meticulous attention to gesture and expression transform a biblical narrative into a vivid study of human emotion and divine calm. This is part of the ambitious Large Passion series that elevated woodcut prints to new artistic heights and established Dürer as a master of both narrative and technique.
Albrecht Dürer, born in Nuremberg in 1471, is regarded as the most influential artist of the Northern Renaissance. Early in his career, Dürer apprenticed with his father, a goldsmith, and later with Michael Wolgemut, whose workshop introduced him to woodcut illustration. Fascinated by the Italian Renaissance, Dürer made two formative visits to Italy, where he absorbed the classical techniques of masters like Pollaiuolo, Mantegna and Michelangelo. Dürer engraved this poignant depiction of the Virgin Mary and the Christ Child following his second trip to Venice in 1505-1507. The stay marked a turning point in his career, and this engraving reveals Dürer's deepened understanding of classical form, as well as his mastery of naturalistic effects in light and shade. His ability to merge these Italian influences with the Northern tradition of intricate detail established Dürer as a leading figure in Renaissance art.
Throughout his career, Dürer created works that transcended the boundaries of woodcuts, engravings and paintings, demonstrating unmatched intellectual and artistic depth. Dürer was the most influential German artist of his time, serving as court artist to both Holy Roman Emperor Maximilian I and his successor Charles V. Examples of this work are featured in the permanent collections of the Metropolitan Museum of Art, the National Gallery of Art in Washington, D.C., the Harvard Art Museums and other esteemed institutions.
Dated 1510
Paper: 15 1/2" high x 10 3/4" wide (39.37 x 27.31 cm)
Frame: 38 1/4" high x 33 1/2" wide x 2 3/4" deep (97.16 x 85.09 x 6.99 cm)
Literature:
Bartsch 7
Provenance:
Private collection, Texas
M.S. Rau, New Orleans
