Christ Driving the Money Changers from the Temple - Albrecht Dürer
Archival giclée
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Description
A classic woodcut from Albrecht Dürer's Small Passion series, depicting the dramatic cleansing of the Temple with precise, expressive line work.
This woodcut by Albrecht Dürer depicts the biblical account of Christ cleansing the Temple in Jerusalem. It belongs to the series known as the Small Passion, a collection of thirty-seven woodcuts that Dürer produced between 1509 and 1511. The series was intended for a wider audience than his earlier, more complex works, and it demonstrates his mastery of the medium through clear, narrative-driven compositions.
In this scene, Christ occupies the centre, his arm raised to wield a scourge against the merchants. The composition is tightly packed, conveying the chaotic nature of the event. Dürer employs a range of hatching techniques to define the forms of the figures and the architectural space. The contrast between the light and shadow creates a sense of volume, while the expressions of the money changers, who recoil in alarm, add a human dimension to the theological subject. A candle burns in the background, providing a source of light that draws the eye toward the central action.
Dürer was a central figure of the Northern Renaissance, known for his technical precision in printmaking. His work often combined Italianate interest in human proportion with the detailed, linear tradition of German art. This specific print reflects his ability to condense a complex narrative into a small, readable format without sacrificing the quality of the line work. The Small Passion was widely circulated and influenced many artists across Europe, as it provided a standard visual interpretation of the life of Christ. This print remains a fine example of Dürer's technical skill and his contribution to the development of the woodcut as a medium for narrative art.
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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
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- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
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- Frames in black, natural wood, dark wood or white
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- Dust gently with a soft, dry cloth
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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
Christ Driving the Money Changers from the Temple - 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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