Betrayal of Christ - Albrecht Dürer
Archival giclée
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Description
A masterful 1508 engraving by Albrecht Dürer depicting the arrest of Christ, showcasing the artist's technical precision and dramatic narrative composition.
This engraving by Albrecht Dürer, dated 1508, depicts the moment of the arrest of Christ in the Garden of Gethsemane. Dürer employs his mastery of the burin to create a scene of high tension and physical conflict. The composition is crowded, focusing on the central struggle where Judas Iscariot embraces Jesus, signalling his identity to the soldiers. The surrounding figures are rendered with sharp, precise lines that define the folds of their garments and the textures of their armour.
In the foreground, a soldier is shown in a dynamic, contorted pose, his face twisted in aggression. Dürer uses cross-hatching to build volume and shadow, creating a sense of three-dimensional form that was characteristic of his mature work. The background features a torch held aloft, providing a source of light that cuts through the darkness, while spears and halberds rise above the heads of the crowd, adding to the chaotic atmosphere. In the distance, a small figure flees, a detail that adds a sense of narrative depth to the scene.
This work is part of Dürer's series on the Passion, demonstrating his ability to convey human emotion and dramatic action within the constraints of the copper plate. The artist's monogram and the date are visible on a tablet at the bottom centre, a hallmark of his professional practice. The print reflects the technical rigour of the Northern Renaissance, where the clarity of line and the precision of detail were paramount. The viewer is presented with a scene that balances the theological weight of the subject with the visceral reality of human conflict, captured through the exacting medium of engraving.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Betrayal of Christ - Albrecht Dürer
Artist Biography
Albrecht Durer
He was born in Nuremberg, the son of a Hungarian goldsmith. He trained as a goldsmith himself before apprenticing with the painter and printmaker Michael Wolgemut. The metalwork training gave him the manual precision that made his prints extraordinary. Melencolia I, Knight, Death and the Devil, and Saint Jerome in His Study, all made between 1513 and 1514, are among the finest engravings ever produced. The density of cross-hatching, the control of tonal gradation, the rendering of fur, feathers, and stone: these are virtuoso performances in a medium that most artists treated as reproductive.
He drew a rhinoceros from a description and a sketch sent by letter. He had never seen one. Dürer's Rhinoceros (1515) is anatomically wrong in several respects (the animal has an extra horn and armour plating) but it remained the standard European image of a rhinoceros for three centuries.
He was one of the first artists to paint self-portraits as a primary subject. The Self-Portrait at Twenty-Eight (1500) shows him facing the viewer directly, with long hair and a fur coat, in a pose traditionally reserved for Christ. It was either an act of supreme confidence or deliberate blasphemy. Probably both.
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