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Artist: Albrecht Durer
Betrayal of Christ
ID::. 63584
Size: 20x24 INS

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Betrayal of ChriststretcherstretchedFrame ID: Ta026Frame ID: Ta087Frame ID: TA198Frame ID: Ta3070-1Frame ID: ta3071-1Frame ID: ta3078-1Frame ID: ta3081-1Frame ID: Ta3123-3Frame ID: Ta3139-1Frame ID: Ta3142-1Frame ID: Ta001Frame ID: Ta001-2Frame ID: Ta002Frame ID: ta003Frame ID: Ta012Frame ID: Ta016Frame ID: Ta017Frame ID: Ta020Frame ID: Ta021Frame ID: Ta021sFrame ID: Ta034Frame ID: Ta035Frame ID: Ta039Frame ID: Ta043Frame ID: Ta050Frame ID: Ta051Frame ID: Ta068Frame ID: Ta082Frame ID: Ta086Frame ID: ta096Frame ID: Ta112Frame ID: Ta125-4Frame ID: Ta144Frame ID: Ta149-2Frame ID: Ta159Frame ID: TA213Frame ID: ta214Frame ID: ta220


   Albrecht Durer Betrayal of Christ   

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Albrecht Durer

b.May 21, 1471, Imperial Free City of Nernberg [Germany] d.April 6, 1528, Nernberg Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
ID: 63584 Betrayal of Christ 1508 Engraving, 118 x 75 mm Metropolitan Museum of Art, New York Sheet No. 3 of the Engraved Passion. St Peter, striking Malchus, seems to take the spotlight away from Christ. The head of Malchus is strongly reminiscent of that in a Schongauer's engraving. The episode in the background, showing a fleeing youth, represents the rarely illustrated passage Mark 14:51-52, perhaps transmitted by Passion plays. The object underneath Malchus is a lantern, which he customarily carries in Passion plays. The emphasis is here shifted from the commotion of the arrest to the tragedy of the betrayal. Physical violence is limited to the duel between St Peter and Malchus. Christ, unconscious of the noose which threatens his neck, bends his head and closes his eyes to receive the kiss, as though Judas and he were alone in the universe. Closely related to the corresponding subject in the Green Passion.Artist:D?RER, Albrecht Title: Betrayal of Christ (No. 3) Painted in 1501-1550 , German - - graphics : religious









 

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