De geseling

1512 · Print

May one see it?

Unknown: the museum keeps its counsel

Rijksmuseum

Amsterdam, Netherlands

The owner is known. Whether it is on view today, the museum does not say, and we were not trained to guess.

Source: The museum's own collection data

On the map Museum page

About the work

In the museum's own words — in Dutch

Christus, gebonden aan een pilaar, wordt door twee mannen geslagen met een takkenbos en een gesel. Deze prent is onderdeel van een serie van 16 prenten met scènes uit het Lijdensverhaal.

Rijksmuseum

Particulars

Accession number: RP-P-OB-1164

What it shows

Flagellation by soldiers, Christ usually tied to a column (Matthew 27:26 Mark 15:15 John 19:1)

Sources

Rijksmuseum: the museum's own open data · fetched 6 days ago
Image: Rijksmuseum — public domain

Meanwhile, in the life of Albrecht Dürer

The whole life

1507–1528 · Workplace
Nuremberg
1511
Publishes the Great Passion and the Life of the Virgin
Dürer published two woodcut series as books, the Great Passion and the Life of the Virgin, with a second edition of the Apocalypse and the 37 woodcuts of the Little Passion. His post-Venetian woodcuts developed chiaroscuro modelling.
1512
Emperor Maximilian I becomes his chief patron
From 1512 Emperor Maximilian I was Dürer's chief patron. For him Dürer and his workshop produced the Triumphal Arch, a giant woodcut 295 × 357 cm printed from 192 blocks and modelled on the triumphal arches of ancient Rome.
3 January 1512
Nuremberg's privilege against forgeries
Nuremberg's city council granted Dürer a privilege for the sale of his prints, with penalties for anyone who forged them.
1513–1516
Three years without painting
Complaining that painting did not pay enough to justify the time compared with his prints, Dürer produced no paintings from 1513 to 1516.
1514
Death of his mother
In the year of Melencolia I and St Jerome in His Study, the artist's mother, Barbara Holper, died.