Christ before Annas - Albrecht Dürer
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Beschreibung
A detailed woodcut from Albrecht Dürer's Small Passion series, depicting the interrogation of Christ before the high priest Annas.
This woodcut is part of the Small Passion series, a collection of thirty-seven prints produced by Albrecht Dürer between 1507 and 1511. The series depicts the life and suffering of Christ, intended for a wider audience than his earlier, more expensive engraved works. In this scene, Christ stands before the high priest Annas, who sits in judgment. Dürer employs a dense network of parallel lines and cross-hatching to define the figures and the architectural space. The composition is crowded, reflecting the tension of the interrogation. Christ is positioned in the lower centre, his posture submissive, while the surrounding soldiers and officials are rendered with aggressive, angular gestures. The artist uses the limitations of the woodblock medium to create strong contrasts between light and shadow, giving the figures a sense of physical weight and presence. The architectural elements, such as the column and the steps, provide a structured backdrop that directs the viewer's eye toward the central interaction. Dürer's mastery of the woodcut technique allows for a high degree of detail in the clothing and armour, demonstrating his ability to convey texture and form through line alone. The monogram AD is visible in the lower right corner, a signature mark of the artist's professional identity during this period. This print remains a clear example of Dürer's technical skill and his approach to narrative clarity within the constraints of early sixteenth-century printmaking.
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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
Christ before Annas - 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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