Who painted Apocalypse: The Adoration of the Lamb—The Hymn of the Chosen?

Apocalypse: The Adoration of the Lamb—The Hymn of the Chosen was painted by Albrecht Dürer in 1496.

Where can I see Apocalypse: The Adoration of the Lamb—The Hymn of the Chosen?

Apocalypse: The Adoration of the Lamb—The Hymn of the Chosen is held by Cleveland Museum of Art.

What movement is Apocalypse: The Adoration of the Lamb—The Hymn of the Chosen?

Apocalypse: The Adoration of the Lamb—The Hymn of the Chosen is associated with Renaissance.

Artwork

Apocalypse: The Adoration of the Lamb—The Hymn of the Chosen

Albrecht Dürer , 1496

Apocalypse: The Adoration of the Lamb—The Hymn of the Chosen is a print by the Renaissance artist Albrecht Dürer. It dates from 1496 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Created circa 1496 by Albrecht Dürer, a pivotal German Renaissance artist, this woodcut forms part of a fifteen‑image series that visualises the Book of Revelation. The print presents a densely populated scene in stark black and white, centered on a lamb perched on a rock and surrounded by robed figures, all rendered with meticulous line work and tonal contrast.

Subject & Meaning

The composition illustrates the apocalyptic moment known as the Adoration of the Lamb, a biblical episode in which the faithful gather before the sacrificial lamb as a symbol of divine salvation. The inclusion of a radiant rider on a horse above the crowd reinforces the prophetic vision of Revelation, emphasizing themes of judgment, redemption and the chosen community’s devotion.

Technique & Style

Dürer employs the woodcut medium to achieve a high level of detail, packing the surface with minute figures and intricate patterns. Through careful manipulation of chiaroscuro, he creates depth by juxtaposing dense hatching with lighter spaces, allowing the central lamb and surrounding participants to emerge from the surrounding chaos while maintaining overall compositional order.

History & Provenance

This particular print, part of his Revelation series, reflects his mature engagement with religious narrative and his technical command of printmaking.

Born in Nuremberg in 1471, Dürer earned early fame for his refined woodcuts before expanding into engraving and altarpiece work. This particular print, part of his Revelation series, reflects his mature engagement with religious narrative and his technical command of printmaking. The work has been preserved in several major European collections, illustrating its continued scholarly and curatorial interest.