Crucifixion. From: The large Passion.

The Large Passion is named after the format of the series (39 x 28 cm). The whole series of twelve woodcuts (eleven scenes and a title page) did not appear till 1511 when Albrecht Dürer published the cycle, together with a title page and a poem by the Benedictine theologian and monk Benedictus Chelidonius. The first seven woodcuts were executed between 1497 and 1500, then the series was completed by five woodcuts in 1510, following the artist's visit to Italy (1505-07).  The complete edition in book form was published in 1511. After Dürer's death, the series was republished in 1675 and 1690. 

The pictures are distinguished by means of their strong emotions, naturalism and human treatment of the subject, thus distancing themselves from late Gothic depictions of the Passion. Dürer considered the Passion to be the subject most worthy of representation in pictorial art, and he portrayed it five different times - a sixth version remained unfinished owing to his death. The subject, untrammelled by the strange pictorial apparatus of the Apocalypse, allows a clearer expression of form and intention, appropriate for this central Christian story.

The theologian Richard Validesau admirably summarises what you see before you:

'Compared with the Engraved Passion and the Small Passion, the Large Passion contains the least naturalistic and most theologically packed repesentation of the crucifixion. In order to fit all the figures, Dürer has taken liberties with perspective that become apparent if one looks at the relation of the bottom of the cross to the figures gathered around it. A majestic Christ, muscular and well-proportioned, with eyes closed in death, is taut and upright against the cross. His long loincloth floats off behind the cross. Angels collect the blood that flows in streams from each of his wounds. The sun and moon witness to the cosmic significance of the event. To the left Mary sits on the ground, comforted by John and another attendant. The group is posed and dignified. To the right are two mounted figures. One gestures towards Christ with open hand. We recognise him as the centurion making his confession, "Truly this was the son of God"'. (Richard Validesau, The Triumph of the Cross: The Passion of Christ in Theology and the Arts from the Renaissance to the Counter-Reformation [Oxford, 2008], p. 148).

See also: Web Gallery of Art,  http://www.wga.hu/frames-e.html?/html/d/durer/2/12/3largep/index.html

Dr Mark Stocker, Curator Historical International Art   December 2016