Who painted The Madonna with Saint Ulrich and Saint Afra [recto]?

The Madonna with Saint Ulrich and Saint Afra [recto] was painted by Urs Graf I in 1511.

Where can I see The Madonna with Saint Ulrich and Saint Afra [recto]?

The Madonna with Saint Ulrich and Saint Afra [recto] is held by National Gallery of Art.

What movement is The Madonna with Saint Ulrich and Saint Afra [recto]?

The Madonna with Saint Ulrich and Saint Afra [recto] is associated with Renaissance.

Artwork

The Madonna with Saint Ulrich and Saint Afra [recto]

Urs Graf I , 1511

The Madonna with Saint Ulrich and Saint Afra [recto] is an ink print by the Renaissance artist Urs Graf I. It dates from 1511 and is held in the collection of the National Gallery of Art.

About this work

Overview

Urs Graf I’s hand‑coloured woodcut, dated around 1511, presents a devotional scene titled *The Madonna with Saint Ulrich and Saint Afra*.

Urs Graf I’s hand‑coloured woodcut, dated around 1511, presents a devotional scene titled *The Madonna with Saint Ulrich and Saint Afra*. The central figure, a woman in a blue robe, holds an infant on a throne, flanked by two male saints—one in green garments with a tall hat, the other in a white tunic crowned. Small angels hover above, while the surrounding space is filled with stylised foliage and ornamental forms.

Subject & Meaning

The composition identifies the woman as the Virgin Mary, indicated by her halo, and the infant as the Christ Child. The accompanying figures are Saint Ulrich, distinguished by his green attire and hat, and Saint Afra, recognizable by his white tunic and regal crown. Their presence reflects the intercessory role of saints in early‑sixteenth‑century devotional imagery, inviting viewers to contemplate the sacred triad.

Technique & Style

Graf employed the traditional woodcut process: a design was incised into a wooden block, inked, and pressed onto paper. After printing, the image was hand‑coloured, adding depth to the blue, green, and white garments. The work combines the linear clarity typical of Northern Renaissance prints with decorative, swirling leaf motifs that frame the central figures, creating a dynamic yet orderly visual field.

History & Provenance

Created circa 1511, the print belongs to a period when Graf was active in Basel, producing both religious and secular images for a growing market of private collectors. While specific ownership records are scarce, the piece survives in several museum collections, indicating its circulation among early modern patrons and its preservation as an example of Graf’s devotional output.