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Overview
The Apocalypse, properly Apocalypse with Pictures (Apocalypsis cum Figuris) is a famous series of fifteen woodcuts by Albrecht Dürer of scenes from the biblical Book of Revelation published in 1498, which rapidly brought him fame across Europe. The series was probably cut on pear wood blocks and drew on theological advice, particularly from Johannes Pirckheimer, the father of Dürer's friend Willibald Pirckheimer.
Work on the series started during Dürer's first trip to Italy (1494–95), and the set was published simultaneously in Latin and German in 1498, at a time when much of Europe anticipated the Last Judgement (and second coming of Christ) in 1500. In Dürer’s native city, the Nuremberg Chronicle of 1493 was published with blank leaves for readers to record the final events of an age that was believed to be coming to a dramatic close. This, however, did not eventuate. The Four Horsemen of the Apocalypse (ca. 1497–98) is third and most famous print in the series. Te Papa also has an impression of The beast with two horns like a lamb (1976-0005-1).
The Four Horsemen presents a dramatically distilled version of the passage from the Book of Revelation (6:1–8): 'And I saw, and behold, a white horse, and its rider had a bow; and a crown was given to him, and he went out conquering and to conquer. When he opened the second seal, I heard the second living creature say, "Come!" And out came another horse, bright red; its rider was permitted to take peace from the earth, so that men should slay one another; and he was given a great sword. When he opened the third seal, I heard the third living creature say, "Come!" And I saw, and behold, a black horse, and its rider had a balance in his hand; ... When he opened the fourth seal, I heard the voice of the fourth living creature say, "Come!" And I saw, and behold, a pale horse, and its rider's name was Death, and Hades followed him; and they were given great power over a fourth of the earth; to kill with sword and with famine and with pestilence and by wild beasts of the earth.'
Transforming what was a relatively staid and unthreatening image in earlier illustrated Bibles, Dürer injects fear, motion and danger into this climactic moment through his subtle manipulation of the woodcut. The parallel lines across the image establish a basic middle tone against which the artist silhouettes and overlaps the powerful forms of the four horses and riders—from left to right, Death, Famine, War and Plague (or Pestilence). Death rides a 'sickly pale' horse or nag; Famine's scales are empty; War wields a sword and Plague a bow and arrow. Finally, on the left, Hades, the hellish creature at the side of the Four Horsemen, who unlike them is at ground level, swallows everyone and everything in his enormous jaws that Death, the final rider, has passed. Their volume and strong diagonal motion enhance the impact of the image, offering an eloquent demonstration of the masterful visual effects Dürer was able to create in this medium. Plague, death and famine are thunderously driving across from left to right, over the poor specimens of common humanity who are being crushed beneath the hooves of the wildly stampeding horses. All descends in such a rush, such a terrible fury – which reminds us of Jesus's admonishment to be forever watchful because you never know at what hour doom many strike. Three of the horsemen have grizzled beards, while the beard of Death is flame-like and worthy of William Blake, working 400 years later; his flesh is hideously emaciated. He prepares to lash out with a trident. No-one, certainly no sinner, can escape the onslaught of the Four Horsemen of the Apocalypse.
See:
Apocalypse (Dürer), https://en.wikipedia.org/wiki/Apocalypse_(D%C3%BCrer)
Michael Glover, 'Great Works: The Four Horsemen of the Acocalpyse...', http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-four-horsemen-of- the-apocalypse-c1496-8-by-albrecht-d-rer-8755001.html, 2013
Dr Mark Stocker, Curator Historical International Art December 2016