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Martyrdom of the Ten Thousand Christians, 1508 by Albrecht Dürer
Canvas Print - 16220-DUA

Location: Kunsthistorisches Museum, Vienna, Austria
Original Size: 99 × 87 cm

Martyrdom of the Ten Thousand Christians by Dürer (1508) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 47.2 × 43.8 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

Martyrdom of the Ten Thousand Christians by Albrecht Dürer, 1508 - canvas print
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Giclée Canvas Print | $77.62 USD

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SKU:16220-DUA
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Print/Image Size
Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
47.2″ × 43.8″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 20.5 × 19 in print therefore arrives as 22.8 × 21.3 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 47.2 × 43.8 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Dürer's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 99 × 87 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Kunsthistorisches Museum, Vienna, Austria. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

In Albrecht Dürer's "Martyrdom of the Ten Thousand Christians," we're confronted with a scene of Biblical brutality rendered with Renaissance finesse. This 1508 masterpiece is a writhing tapestry of flesh and faith, where the sacred and the profane dance a macabre waltz.

The canvas teems with bodies - some falling, some fleeing, all caught in the throes of divine sacrifice. Dürer's mastery of the human form is on full display here, each figure a study in anatomical precision. The artist revels in the challenge of depicting the body in every conceivable pose, from the serene to the contorted.

Color plays a crucial role in guiding our eye through this chaotic composition. Rich reds and blues of the martyrs' robes punctuate the earthy tones of rock and skin, creating a rhythm that leads us from one gruesome vignette to the next. The verdant greens of the distant landscape offer a cruel contrast to the carnage below - nature's indifference to human suffering writ large.

Dürer's commitment to perspective is evident in how he stacks the drama, from the foreground's intimate horrors to the distant cliff-top executions. It's a vertical narrative that draws us in and up, mirroring the ascension of the martyrs' souls. The artist's Italian influences shine through in the classical poses and the attention to light and shadow that sculpts each figure.

In a cheeky nod to his patrons and peers, Dürer inserts himself and his friend Wilhelm Pirkheimer into the scene, dressed anachronistically in contemporary Nuremberg fashion. It's a meta-moment that bridges the gap between Biblical past and Renaissance present, reminding us that art is always, in some way, about the artist.

This painting is more than a religious tableau - it's Dürer's statement of artistic intent. Here, he proves he can match the Italian masters in depicting the nude, in complex compositions, and in infusing Christian themes with classical aesthetics. It's a tour de force of Renaissance art, where faith meets flesh in a spectacle of suffering and salvation.

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