The Small Passion: Pilate Washing His Hands - Albrecht Dürer
Archival giclée
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Description
A masterful woodcut from Albrecht Dürer's Small Passion series, depicting the moment Pilate washes his hands of the fate of Christ.
This woodcut belongs to the series known as The Small Passion, a collection of thirty-seven prints produced by Albrecht Dürer between 1509 and 1511. The series was designed for a wider audience than his earlier, more ambitious Large Passion, focusing on narrative clarity and accessible scale. In this scene, Pilate is depicted seated, washing his hands in a basin held by an attendant, a gesture signifying his refusal of responsibility for the fate of Christ. To the right, soldiers lead Christ away, their figures rendered with the characteristic cross-hatching and dense line work that defined Dürer's mastery of the woodcut medium.
Dürer utilised the woodcut technique to achieve a level of tonal variation previously unseen in the medium. By varying the density and direction of his lines, he created a sense of volume and spatial depth within the architectural setting. The figures are dressed in contemporary sixteenth-century attire, a common practice in Northern Renaissance art to bring biblical narratives into the immediate experience of the viewer. The composition is balanced, with the seated Pilate acting as a stable anchor against the movement of the soldiers on the right side of the frame. The artist's monogram, the famous AD, is visible in the lower left corner, confirming the authenticity of the print. This work demonstrates the technical precision and narrative economy that allowed Dürer to influence printmaking across Europe for generations. The stark contrast between the black ink and the paper surface emphasises the dramatic tension of the moment, capturing the psychological weight of the scene through line alone.
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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 Small Passion: Pilate Washing His Hands - 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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