The beast with two horns like a lamb, from The Apocalypse (1498)

Technique: Giclée quality print
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"" by Albrecht Dürer, crafted in 1498, is a compelling woodcut from his renowned series ''. This intricate artwork captures a vivid scene inspired by the visions described in the Book of Revelation.In this masterful depiction, Dürer portrays the false prophet, a beast with two horns resembling those of a lamb, which speaks with the voice of a dragon. This beast, standing beside a larger seven-headed dragon, exercises deceptive powers, directing people to worship the seven-headed beast. It's portrayed performing miracles and breathing fire, its menacing presence contrasting with its lamb-like horns, symbolizing deceit disguised as innocence.Above this chilling scene, a majestic figure seated on clouds, possibly representing divine authority, dominates the upper center. This figure is surrounded by an array of angels, some blowing trumpets and others wielding bowls, adding a dramatic intensity to the celestial judgment unfolding.The bottom of the woodcut is filled with a crowd of onlookers, their garments and postures reflecting diverse reactions to the unfolding supernatural events. Some observe in awe or devotion, while others kneel in supplication or fear.Dürer’s work is celebrated for its detail, emotional depth, and the poignant way it communicates complex biblical narratives.

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Christian paintings, woodcuts and landscapes by the German Renaissance master Albrecht Dürer (1471-1528). Dürer's pieces on Christian themes and allegory are considered to be the finest examples of the Northern Renaissance. One of Dürer's most famous works on Christ is his "Crucifixion" woodcut (1503). The piece demonstrates Dürer's mastery of the medium and deep understanding of Christian symbolism. The work depicts the crucifixion of Christ in a powerful and realistic manner, with an emphasis on the suffering and sacrifice of Christ. Dürer began his career as an apprentice in Nuremberg to the master craftsman Michael Wolgemut. He later became the founding member of the city's painters' guild and was an active member of humanist circles prominent in Nuremberg at the time.