The Flagellation

1512 · Print · 11.59 × 7.3 cm

可否一睹真容？

眼下不见客

明尼阿波利斯美術館

明尼阿波利斯, 美國

仍属馆藏，只是目前没有展出。

核实: 前天
此状态始于: 2026年9月25日
出处: 博物馆自己的馆藏数据

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关于作品

Much of the gory non-Gospel detail in the Passion literature was connected to Old Testament prophesies. For example, Isaiah 1:6 (From the sole of the foot unto the top of the head, there is no soundness therein) inspired horrific Flagellation episodes. One tract said Christ was whipped from bottom to top, so his blood would not hide any bit of flesh from his torturers. Such gruesome imagery--and Christ's defenselessness--helped viewers visualize the depth of pain Christ endured on their behalf.

明尼阿波利斯美術館

作品信息

馆藏编号: P.127

已收入目录

版画雕版画文艺复兴 16 世纪德国

出处

明尼阿波利斯美術館：博物馆的开放数据 · 8天前获取
图片：明尼阿波利斯美術館 — public domain

与此同时，在Albrecht Dürer的生活中

完整生平

1507–1528 · 工作地
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.