Who painted The Apocalyptic Woman?

The Apocalyptic Woman was painted by Albrecht Dürer in 1497.

Where can I see The Apocalyptic Woman?

The Apocalyptic Woman is held by Städel Museum.

What movement is The Apocalyptic Woman?

The Apocalyptic Woman is associated with Northern Renaissance.

Artwork

The Apocalyptic Woman

Albrecht Dürer , 1497

The Apocalyptic Woman is an ink print by the Northern Renaissance artist Albrecht Dürer. It dates from 1497 and is held in the collection of the Städel Museum.

About this work

Overview

The image combines several biblical symbols within a single composition, rendered in the stark contrasts characteristic of early printmaking.

Albrecht Dürer’s woodcut, dated around 1497, presents a complex religious tableau known as the Apocalyptic Woman. The image combines several biblical symbols within a single composition, rendered in the stark contrasts characteristic of early printmaking. It serves as a visual interpretation of a passage from the Book of Revelation, illustrating a figure traditionally associated with the Church and divine protection.

Subject & Meaning

At the centre stands the Woman of the Apocalypse, identified in Revelation as a symbol of the faithful community. She is shown standing upon the head of a dragon, a creature representing evil, while a halo crowns her head and a child clings to her side, signifying purity and the promise of salvation. The juxtaposition underscores triumph over malevolent forces.

Technique & Style

The work is executed as a woodcut, a printmaking method in which the artist incises the image into a wooden block, inks the raised surfaces, and presses paper onto it. Dürer’s precise line work and careful handling of light and shadow create a dramatic, high‑contrast effect, allowing multiple copies to be distributed while preserving the intricacy of the design.

History & Provenance

Created in the late 15th century, the print reflects Dürer’s early engagement with religious subjects and his mastery of emerging print technologies. Copies circulated among devotional contexts and collectors, contributing to the spread of his reputation across Europe. The original block has not survived, but extant impressions reside in several major museum collections, documenting the work’s enduring scholarly interest.