Christ on the Cross with Three Angels - Albrecht Dürer
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Beschreibung
An etching by Albrecht Dürer depicting the crucified Christ with three angels collecting his blood in chalices.
This etching by Albrecht Dürer depicts the crucified Christ flanked by three angels who collect his blood in chalices. Dürer, a master of the Northern Renaissance, utilised the etching process on iron plates during this period, a technique that allowed for a distinct, fluid line quality compared to the more rigid burin work of his earlier copper engravings. The composition is balanced and symmetrical, focusing on the central figure of Christ, whose anatomy is rendered with precise, anatomical observation typical of Dürer's mature style.
The angels are positioned to frame the central cross, their wings spread to fill the negative space of the composition. Each angel holds a chalice to catch the blood flowing from the wounds in Christ's hands and side, a motif that emphasises the theological concept of the Eucharist. The drapery of the angels' robes is executed with rhythmic, parallel hatching, a hallmark of Dürer's graphic work that creates volume and depth without the need for tonal wash. The figure of Christ is depicted with a sense of physical weight, his body sagging slightly under the strain of the crucifixion, while his expression remains one of quiet resignation.
Dürer's ability to combine technical precision with emotional gravity is evident here. The lines are clean and deliberate, demonstrating his command over the etching medium. This work belongs to a period when Dürer was experimenting with iron plates, which were softer than copper and allowed for a more spontaneous, sketch-like quality in the line work. The print remains a clear example of his contribution to the development of printmaking in Europe, showing his capacity to translate complex religious narratives into accessible, highly detailed graphic forms.
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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 on the Cross with Three Angels - 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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