The Nativity

1504 · Print · 18.42 × 11.75 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: 9 days ago
In this state since: Sep 25, 2026
Source: The museum

On the map Museum page

About the work

The beautiful architecture and scenery of this print hide significant symbolic meanings associated with the birth of Jesus Christ. The dilapidated state of the buildings and the vegetation sprouting from the ruins signify the birth of the new amidst the decay of the old. The draw-well and broken pitcher allude to not only the purity of the Virgin, but also to the waters of Paradise and the sacrament of Baptism. Yet while the inclusion of symbolic meaning is typical for nativity scenes of the period, Dürer's mastery of perspective was definitely unique and remarkable.

Minneapolis Institute of Art

Particulars

Accession number: P.68.141

In the catalog

Prints Engraving Renaissance 16th century Germany

Sources

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

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.