Calvary

c. 1503–04 · Print

May one see it?

Not receiving at present

Art Institute of Chicago

Chicago, United States

It belongs to the collection, but is not on display at present.

Checked: 3 days ago
In this state since: Aug 19, 2026
Source: The museum

On the map Museum page

About the work

Albrecht Dürer described this deceptively simple image of Jesus Christ’s Crucifixion as one of his “schlechtes Holzwerk,” his “plain” or “homely woodcuts.” Yet the number of figures represented, the receding landscape, and the pathos embodied by the swooning Virgin Mary and the kneeling Mary Magdalene exceed the artist’s own modest assessment of the work. In comparison with earlier woodcuts, especially the quickly produced book illustrations undertaken in Wolgemut’s workshop, the woodblock must have been cut particularly closely to the artist’s own design. While busier than Dürer’s monumental Passion woodcuts from the same period, this moving woodcut hints at the artist’s past and future.

Art Institute of ChicagoCC BY 4.0

Particulars

Accession number: 1959.527

In the catalog

Prints Woodcut Renaissance 16th century Germany

Sources

Art Institute of Chicago
Image: Art Institute of Chicago — CC0

Meanwhile, in the life of Albrecht Dürer

The whole life

1501–1502
In the circle of Nuremberg's humanists
Through his lifelong friend Willibald Pirckheimer, Dürer entered the circle of Nuremberg's humanists. He engraved illustrations for Conrad Celtis's editions of Hrotsvitha (1501) and of his Four Books of Love (1502), and decorated 14 books in Pirckheimer's library with drawings.
1502
Death of his father
Albrecht Dürer the Elder died, and his son took on the care of his mother and his two younger brothers, Endres and Hans.
1504 · Workplace
Lutherstadt Wittenberg
1505
Second journey to Italy
Dürer set off for Italy again — perhaps not only to earn money but also to stop Marcantonio Raimondi from copying his prints. His stay in Venice is known from ten surviving letters to Pirckheimer.
1505–1507
To Bologna for the secrets of perspective
Dürer travelled to the university city of Bologna, hoping to learn the secrets of geometric perspective from its scholars. He then meant to visit Mantegna in Padua but received news of his death, which he greatly regretted afterwards.
1505–1507
Friendship with Giovanni Bellini
Dürer considered Giovanni Bellini “the best in painting”, the only Venetian master with whom he became friends. The Madonna of the Siskin may have been painted at Bellini's request.