The Crucifixion - Albrecht Dürer
Archival giclée
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Description
A classic 1510 woodcut from Albrecht Dürer's Small Passion series, depicting the Crucifixion with precise hatching and traditional iconography.
This woodcut, dated 1510, belongs to the Small Passion series by Albrecht Dürer. The artist produced this set of thirty-seven prints between 1509 and 1511, aiming to provide a narrative of the life of Christ accessible to a wider audience. Dürer, a master of the graphic arts, utilised the woodcut medium to achieve a level of detail and tonal variation previously unseen in the format.
The composition depicts the central figure of Christ on the cross, flanked by the Virgin Mary on the left and Saint John the Evangelist on the right. Dürer employs a rigorous system of hatching and cross-hatching to define the musculature of Christ and the heavy folds of the garments worn by the mourners. The background features stylised foliage, which provides a sense of space without distracting from the primary figures. At the base of the cross, a skull and bone serve as traditional memento mori symbols, reminding the viewer of mortality and the site of Golgotha.
The artist's monogram, AD, appears on a small tablet at the foot of the cross, alongside the date 1510. This work demonstrates Dürer's ability to balance emotional weight with technical precision. The lines are clean and purposeful, creating a clear visual hierarchy that directs the eye toward the central event. The print reflects the technical mastery of the Nuremberg school, where Dürer refined the woodcut process to compete with the visual complexity of copperplate engravings. This piece remains a primary example of early sixteenth-century German printmaking, capturing the sombre tone of the subject through stark contrast and disciplined mark-making.
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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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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
The Crucifixion - 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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