The Large Passion: The Crucifixion - Albrecht Dürer
Archival giclée
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Description
A masterful woodcut by Albrecht Dürer from The Large Passion series, depicting the crucifixion with precise line work and balanced composition.
Albrecht Dürer produced this woodcut as part of his series known as The Large Passion. The work demonstrates his technical mastery of the woodcut medium, a craft he elevated through his precise control of line and shadow. The composition centres on the figure of Christ upon the cross, flanked by angels who collect his blood in chalices. Below, the scene includes the Virgin Mary, Saint John, and other figures, alongside a mounted soldier who turns away from the central event.
Dürer employs a dense system of hatching and cross-hatching to define form and volume. This technique allows for a range of tones, from the deep shadows in the drapery to the bright highlights on the figures. The background features a landscape with a distant town and bridge, typical of Dürer's interest in integrating narrative scenes with naturalistic settings. The sun and moon appear in the upper corners, a common iconographic element in depictions of the crucifixion to signify the cosmic scale of the event.
The artist's monogram, AD, is visible at the bottom centre, a mark of his professional identity and pride in his workshop output. This print reflects the transition in German art during the late fifteenth century, where the influence of Italian perspective and humanism began to merge with the traditional Gothic aesthetic. The figures exhibit a sense of weight and physical presence, while the composition maintains a structured, balanced arrangement. Dürer's ability to render textures, such as the feathers of the angels' wings or the fabric of the garments, shows his close observation of the world. This print remains a primary example of the technical capabilities of early printmaking in Nuremberg.
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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.
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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
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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 Large Passion: 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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