Who painted Christ Tells His Disciples of the Last Judgment?

Christ Tells His Disciples of the Last Judgment was painted by Christoph Murer in 1630.

Where can I see Christ Tells His Disciples of the Last Judgment?

Christ Tells His Disciples of the Last Judgment is held by National Gallery of Art.

What movement is Christ Tells His Disciples of the Last Judgment?

Christ Tells His Disciples of the Last Judgment is associated with Renaissance.

Artwork

Christ Tells His Disciples of the Last Judgment

Christoph Murer , 1630

Christ Tells His Disciples of the Last Judgment is an ink print by the Renaissance artist Christoph Murer. It dates from 1630 and is held in the collection of the National Gallery of Art.

About this work

Overview

Christ Tells His Disciples of the Last Judgment is a 1630 woodcut by the German printmaker Christoph Murer. Executed on laid paper, the monochrome image presents a densely populated tableau that conveys a moment of divine proclamation. The central, halo‑encircled figure stands on a craggy incline, gesturing upward as a multitude of figures around him scramble, ascend, or descend in response.

Subject & Meaning

The composition depicts the moment Jesus informs his followers of the forthcoming final judgment. The haloed teacher, robed and elevated, serves as the focal point, while the surrounding crowd embodies the varied human reactions to the eschatological warning—fear, supplication, and frantic movement toward the heavens or the earth, suggesting the moral urgency of the sermon.

Technique & Style

Murer employed the woodcut medium, carving sharp, intersecting lines into a block to produce stark contrasts of black and white. The incised lines generate a sense of kinetic energy, rendering figures in contorted poses that seem to surge across the surface. The use of dense hatching and overlapping forms creates a theatrical depth, characteristic of early‑Baroque printmaking.

History & Provenance

Created in 1630, the print belongs to the period when Protestant visual culture favored didactic imagery for devotional use. Although specific ownership records are limited, the work has been catalogued in several European collections of 17th‑century prints and is frequently cited in studies of Murer’s religious output.