Who painted The Crucifixion?

The Crucifixion was painted by Albrecht Dürer in 1508.

Where can I see The Crucifixion?

The Crucifixion is held by British Museum.

What movement is The Crucifixion?

The Crucifixion is associated with Northern Renaissance.

Artwork

The Crucifixion

Albrecht Dürer , 1508

The Crucifixion is an ink print by the Northern Renaissance artist Albrecht Dürer. It dates from 1508 and is held in the collection of the British Museum.

About this work

Overview

Albrecht Dürer’s 1508 engraving titled The Crucifixion presents a solemn scene of the crucifixion of Jesus, accompanied by John the Apostle and Mary Magdalene positioned beneath the cross. Executed on laid paper, the work forms part of Dürer’s series of Passion prints, which also includes depictions of the Agony in the Garden and the Carrying of the Cross.

Subject & Meaning

The composition centers on the crucified Christ, while the grieving figures of John and Mary Magdalene convey a restrained sorrow, emphasizing the human response to the event rather than theatrical drama. Their placement below the cross underscores themes of devotion and mourning within the Christian narrative.

Technique & Style

Dürer employs precise line work and dense cross‑hatching to model flesh, drapery, and the sky, achieving a high degree of tonal variation. The engraving’s razor‑sharp contours and meticulous shading render the anatomy and fabric folds with a tangible realism characteristic of his mature printmaking.

History & Provenance

Created in 1508, the print was produced during Dürer’s early mature period, a time when he was refining his approach to religious subjects in print form. The work has been preserved in several major collections, reflecting its continued scholarly interest as a key example of early 16th‑century Northern European engraving.

Context

The Crucifixion belongs to a trio of Passion engravings that Dürer designed to offer a contemplative visual narrative of Christ’s suffering. By opting for subdued gestures and a calm atmosphere, Dürer aligns the piece with contemporary devotional practices that favored personal reflection over overt spectacle.