Albrecht Dürer, 'The Large Passion: Christ

Albrecht Dürer, 'The Large Passion: Christ, Man of Sorrows, Mocked by a Soldier', about 1511. Museum no. E.702-1940

Albrecht Dürer (1471 -1528)
'The Large Passion: Christ, Man of Sorrows, Mocked by a Soldier'
Germany
About 1511
Woodcut
Museum no. E.702-1940
Bequeathed by Miss Alice G.E.Carthew

Dürer was the first major western artist to publish and illustrate a book. The Large Passion was one of three series of large woodcuts on religious themes which he issued in book form. He produced the woodblocks between 1496 and 1510 and published them with text in 1511. This print formed the title page.

Albrecht Dürer, 'The Large Passion: The Last Supper'

Albrecht Dürer, 'The Large Passion: The Last Supper', 1510. Museum no.E.703-1940

Albrecht Dürer (1471 -1528)
'The Large Passion: The Last Supper'
Germany
1510
Woodcut
Museum no. E.703-1940
Bequeathed by Miss Alice G.E.Carthew

Christ 's disciples react to his pronouncement, 'One of you will betray me - one who is eating with me '. Judas (in the right foreground) turns his face away and clutches a purse containing the thirty silver coins he has been paid to hand Christ over to his enemies. The knife on his plate points ominously towards Christ.

Albrecht Dürer, 'The Large Passion:The Agony in the Garden'

Albrecht Dürer, 'The Large Passion:The Agony in the Garden', about 1496-7. Museum no. E.704-1940

Albrecht Dürer (1471 -1528)
'The Large Passion:The Agony in the Garden'
Germany
About 1496 -7
Woodcut
Museum no. E.704-1940
Bequeathed by Miss Alice G.E.Carthew

Christ kneels and prays in the Garden of Gethsemane while his disciples sleep. In anguish he asks God whether he can be spared the coming ordeal, saying, 'Father, if you are willing, take this cup from me '. In the background soldiers, guided by Judas, are already advancing to arrest him.

Albrecht Dürer, 'The Large Passion:The Betrayal'

Albrecht Dürer, 'The Large Passion:The Betrayal', 1510. Museum no. 26120-2

Albrecht Dürer (1471 -1528)
'The Large Passion: The Betrayal'
Germany
1510
Woodcut
Museum no. 26120-2

Judas has just kissed Christ as a signal for the soldiers to make the arrest. They drag Christ away, grabbing his clothing and roping him around the waist.On the right, the disciple Peter fights back, but Christ himself gazes heavenwards, accepting his fate.

Albrecht Dürer, 'The Large Passion: The Flagellation'

Albrecht Dürer, 'The Large Passion: The Flagellation', about 1496-7. Museum no. E.705-1940

Albrecht Dürer (1471 -1528)
'The Large Passion: The Flagellation'
Germany
About 1496 -7
Woodcut
Museum no. E.705-1940
Bequeathed by Miss Alice G.E.Carthew

After the arrest, the soldiers flogged and mocked Christ. Dürer emphasises the noise and brutality of the scene. The soldiers tear Christ 's hair and use all their strength to make whips and bindings. In the bottom right-hand corner is the crown of thorns that they made Christ wear.

Albrecht Dürer, 'The Large Passion: The Presentation'

Albrecht Dürer, 'The Large Passion: The Presentation', about 1498. Museum no. E.706-1940

Albrecht Dürer (1471 -1528)
'The Large Passion: The Presentation'
Germany
About 1498
Woodcut
Museum no. E.706-1940
Bequeathed by Miss Alice G.E.Carthew

The Roman governor Pontius Pilate offered to spare Christ 's life and release him. Here, the hostile mob insist that they want him crucified. Dürer has given the faces in the crowd grotesque expressions to reflect the wickedness of their actions. The tall soldier in the foreground is dressed as a mercenary.

Albrecht Dürer, 'The Large Passion: The Bearing of the Cross'

Albrecht Dürer, 'The Large Passion: The Bearing of the Cross', about 1498-9. Museum no. E.707-1940

Albrecht Dürer (1471 -1528)
'The Large Passion: The Bearing of the Cross'
Germany
About 1498 -9
Woodcut
Museum no. E.707-1940
Bequeathed by Miss Alice G.E.Carthew

On his way to execution, Christ turns to St Veronica who offers him her veil. It is a brief moment as Christ is propelled forward by the procession. The crowd is composed of soldiers, henchmen, officials and Christ 's followers. His mother Mary and St John are seen on the left.

Albrecht Dürer, 'The Large Passion: The Crucifixion'

Albrecht Dürer, 'The Large Passion: The Crucifixion', about 1498. Museum no. E.708-19405

Albrecht Dürer (1471 -1528)
'The Large Passion: The Crucifixion'
Germany
About 1498
Woodcut
Museum no. E.708-19405
Bequeathed by Miss Alice G.E.Carthew

As Christ dies, his mother Mary is sunk in grief at the foot of the cross. Dürer contrasts the pain felt by Christ 's followers with the indifference of the mounted soldier on the right. Three angels capture Christ 's blood in cups, drawing attention to his wounds and bodily suffering.

Albrecht Dürer, 'The Large Passion: The Lamentation'

Albrecht Dürer, 'The Large Passion: The Lamentation', about 1498-9. Museum no. E.710-1940

Albrecht Dürer (1471 -1528)
'The Large Passion: The Lamentation'
Germany
About 1498 -9
Woodcut
Museum no. E.710-1940
Bequeathed by Miss Alice G.E.Carthew

Christ 's female followers mourn over his body in a scene of private grief. St John is also present, gently supporting Christ 's shoulders. Dürer communicates the women 's anguish through the expressive gestures of their hands.

Albrecht Dürer, 'The Large Passion: The Deposition'

Albrecht Dürer, 'The Large Passion: The Deposition', 1496-7. Museum no.E.709-1940

Albrecht Dürer (1471 -1528)
'The Large Passion: The Deposition'
Germany
About 1496 -7
Woodcut
Museum no. E.709-1940
Bequeathed by Miss Alice G.E.Carthew

Three men lift Christ 's body to place it in the tomb. The wound in his side still bleeds. In the right hand corner, Christ 's mother Mary sits immobilised by her sorrow.

Albrecht Dürer, 'The Large Passion: The Harrowing of Hell'

Albrecht Dürer, 'The Large Passion: The Harrowing of Hell', 1510. Museum no. E.711-1940

Albrecht Dürer (1471 -1528)
'The Large Passion: The Harrowing of Hell'
Germany
1510
Woodcut
Museum no. E.711-1940
Bequeathed by Miss Alice G.E.Carthew

According to Roman Catholic belief, Christ descended into the underworld between the time of his Crucifixion and his Resurrection. He rescued the souls of all the just people who had died and been held in limbo. Holding Christ 's cross is Adam - the first man that God created.

Albrecht Dürer, 'The Large Passion: The Resurrection'

Albrecht Dürer, 'The Large Passion: The Resurrection', 1510. Museum no. 26120-7

Albrecht Dürer (1471 -1528)
'The Large Passion: The Resurrection'
Germany
1510
Woodcut
Museum no. 26120-7

Christ rose from the dead on the third day after his Crucifixion. Dürer shows him floating above the tomb while the guards sleep.

Adrian Wiszniewski, 'The Stations of the Cross: Pontius Pilate'

Adrian Wiszniewski, 'The Stations of the Cross: Pontius Pilate', 1999. Museum no. E.522:1-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Pontius Pilate'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:1-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

Pontius Pilate was the Roman governor of Judea. Here, he has just given in to the angry crowd and condemned Christ to die. In a symbolic gesture, he washes his hands saying, 'I am innocent of this man 's death '. Wiszniewski has printed the scene in purple - the colour of imperial Rome.

Adrian Wiszniewski, 'The Stations of the Cross : Jesus Takes up the Cross'

Adrian Wiszniewski, 'The Stations of the Cross : Jesus Takes up the Cross', 1999. Museum no. E.522:2-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross : Jesus Takes up the Cross'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:2-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

Christ takes the weight of the cross, which he must drag to the place of crucifixion. The blood-red colour of the printing ink reflects the idea of sacrifice.

Adrian Wiszniewski, 'The Stations of the Cross : Jesus Falls for the First Time'

Adrian Wiszniewski, 'The Stations of the Cross : Jesus Falls for the First Time', 1999. Museum no. E.522:3-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross : Jesus Falls for the First Time'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:3-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

As Christ stumbles, Wiszniewski shows him reaching for a small plant - a promise of new life and hope.

Adrian Wiszniewski, 'The Stations of the Cross: Jesus Meets his Mother'

Adrian Wiszniewski, 'The Stations of the Cross: Jesus Meets his Mother', 1999. Museum no. E.522:4-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Jesus Meets his Mother'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:4-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

The colour of this print is symbolic of Christ 's mother Mary. Artists have traditionally shown her wearing light blue robes.

Adrian Wiszniewski, 'The Stations of the Cross: Jesus met by Simon of Cyrene'

Adrian Wiszniewski, 'The Stations of the Cross: Jesus met by Simon of Cyrene', 1999. Museum no. E.522:5-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Jesus met by Simon of Cyrene'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:5-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

Simon of Cyrene, a passer by, was forced to help Christ carry the cross. He is shown here supporting the weight of the cross while Christ blesses his young son.

Adrian Wiszniewski, 'The Stations of the Cross: Veronica Wipes the Face of Jesus'

Adrian Wiszniewski, 'The Stations of the Cross: Veronica Wipes the Face of Jesus', 1999. Museum no. E.522:6-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Veronica Wipes the Face of Jesus'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:6-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

According to popular traditions of the Passion, St Veronica offered Christ her veil to wipe his face. Here, her act of compassion seems to shield him and allow a moment of refuge.

Adrian Wiszniewski, 'The Stations of the Cross: Jesus Falls for the Second Time'

Adrian Wiszniewski, 'The Stations of the Cross: Jesus Falls for the Second Time', 1999. Museum no. E.522: 7-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Jesus Falls for the Second Time'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522: 7-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski, 'The Stations of the Cross: Jesus Meets the Women of Jerusalem'

Adrian Wiszniewski, 'The Stations of the Cross: Jesus Meets the Women of Jerusalem', 1999. Museum no. E.522:8-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Jesus Meets the Women of Jerusalem'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:8-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

Christ turns to the women who show compassion for his sufferring, saying to them 'Daughters of Jerusalem, do not weep for me; weep for yourselves and for your children'.

Adrian Wiszniewski, 'The Stations of the Cross: Jesus Falls for the Third Time'

Adrian Wiszniewski, 'The Stations of the Cross: Jesus Falls for the Third Time', 1999. Museum no. E.522:9-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Jesus Falls for the Third Time'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Purchased through the Julie and Robert Breckman Print Fund
Museum no. E.522:9-2001
© Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski, 'The Stations of the Cross: Jesus is Stripped of his Garments'

Adrian Wiszniewski, 'The Stations of the Cross: Jesus is Stripped of his Garments', 1999. Museum no. E.522:10-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Jesus is Stripped of his Garments'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:10-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

When the soldiers stripped Christ, they divided up his clothes and cast lots for them. This is a significant moment in the story as the soldiers' actions were the fulfilment of an Old Testament prophecy.

Adrian Wiszniewski, 'The Stations of the Cross: Jesus is Nailed to the Cross'

Adrian Wiszniewski, 'The Stations of the Cross: Jesus is Nailed to the Cross', 1999. Museum no. E.522:11-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: Jesus is Nailed to the Cross'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:11-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski, 'The Stations of the Cross: The Crucifixion'

Adrian Wiszniewski, 'The Stations of the Cross: The Crucifixion', 1999. Museum no. E.522:12-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: The Crucifixion'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:12-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

The sombre colouring of this print corresponds to the Gospel stories,which tell how darkness descended on the land as Christ died.

Adrian Wiszniewski, 'The Stations of the Cross: The Pietà'

Adrian Wiszniewski, 'The Stations of the Cross: The Pietà', 1999. Museum no. E.522:13-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: The Pietà'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:13-2001
Purchased through the Julie and Robert Breckman Print Fund
© Adrian Wiszniewski and Glasgow Print Studio

A pietà, meaning 'pity ', is the traditional devotional image of Mary holding Christ 's dead body. Here, the figure of Christ is small in proportion to Mary, recalling the time when he was a child in her lap.

Adrian Wiszniewski, 'The Stations of the Cross: The Entombment'

Adrian Wiszniewski, 'The Stations of the Cross: The Entombment', 1999. Museum no. E.522:14-2001, © Adrian Wiszniewski and Glasgow Print Studio

Adrian Wiszniewski (born 1958)
'The Stations of the Cross: The Entombment'
Britain
1999
Linocut on Japanese tenjin paper
Published by Glasgow Print Studio
Museum no. E.522:14-2001
Purchased through the Julie and Robert Breckman Print Fund
©  Adrian Wiszniewski and Glasgow Print Studio

This image suggests Christ 's resurrection as well as his burial. A white space indicates the open tomb and seems to represent a doorway into light, rather than death and darkness.