Saint John Devouring the Book

1498 (1511 edition) · Print · 39.37 × 28.42 cm

May one see it?

Not receiving at present

Minneapolis Institute of Art

Minneapolis, United States

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

Checked: 10 days ago
In this state since: Sep 25, 2026
Source: The museum

On the map Museum page

Particulars

Accession number: P.215

In the catalog

Prints Woodcut Renaissance 15th century Germany

Sources

Minneapolis Institute of Art
Image: Minneapolis Institute of Art — public domain

Meanwhile, in the life of Albrecht Dürer

The whole life

1500
Jacopo de' Barbari and the secret of proportion
The Venetian Jacopo de' Barbari, whom Dürer had met in Venice, came to Nuremberg, and Dürer said he learned much from him about perspective, anatomy and proportion. Feeling that de' Barbari would not explain everything he knew, Dürer began studies of his own that became a lifelong preoccupation.
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.
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.
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.