Salvator Mundi — Albrecht Dürer, ca. 1505

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These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Iconclass: 11D324'Salvator Mundi', making a blessing gesture; an orb in his hand or at his feet
Holder's headings: Christ
Wikidata depicts: Salvator Mundi, Christ

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Rights

Credit: The Friedsam Collection, Bequest of Michael Friedsam, 1931
Licence: CC0-1.0
Evidence: metmuseum.org collection api v1: isPublicDomain=true on object 436243 (read 2026-08-27)
Record: https://www.metmuseum.org/art/collection/search/436243

Also by Albrecht Dürer

The Four Horsemen of the Apocalypse, from The Apocalypse, Albrecht Dürer — The Four Horsemen of the Apocalypse, from The ApocalypseAlbrecht Dürerc. 1496–98The Art Institute of Chicago

The Lamentation, from The Large Passion, Albrecht Dürer — The Lamentation, from The Large PassionAlbrecht Dürerc. 1498–99The Art Institute of Chicago

Man of Sorrows with Arms Outstretched, Albrecht Dürer — Man of Sorrows with Arms OutstretchedAlbrecht Dürerca. 1500Metropolitan Museum of Art, New York, NY

Calvary, Albrecht Dürer — CalvaryAlbrecht Dürerc. 1503–04The Art Institute of Chicago

Adam and Eve, Albrecht Dürer — Adam and EveAlbrecht Dürer1504Metropolitan Museum of Art, New York, NY

The Fifth Knot, Albrecht Dürer — The Fifth KnotAlbrecht Dürerc. 1507The Art Institute of Chicago

Within fifty years of ca. 1505

347

Madonna and Child with Angels, Antonio Rossellino — Madonna and Child with AngelsAntonio Rossellinoca. 1455–60Metropolitan Museum of Art, New York, NY

Minature Handled Bowl with Textile-like Design, Inca — Minature Handled Bowl with Textile-like DesignInca1450–1532The Art Institute of Chicago

Ritual Impersonator of the Deity Xipe Totec, Mexica (Aztec) — Ritual Impersonator of the Deity Xipe TotecMexica (Aztec)1450–1500The Art Institute of Chicago

Manuscript Leaf with the Trinity in an Initial G, from an Antiphonary, Master of the Riccardiana Lactantius — Manuscript Leaf with the Trinity in an Initial G, from an AntiphonaryMaster of the Riccardiana Lactantiussecond half 15th centuryMetropolitan Museum of Art, New York, NY

Saint John the Baptist, Jan Crocq (Netherlandish, act. 1486–1510) — Saint John the BaptistJan Crocq (Netherlandish, act. 1486–1510)c. 1500Cleveland Museum of Art

The Adoration of the Shepherds, Andrea Mantegna — The Adoration of the ShepherdsAndrea Mantegnashortly after 1450Metropolitan Museum of Art, New York, NY

Leaf from a Book of Hours: Office of the Dead: Angel Chasing a Devil (recto), Coëtivy Master (French) — Leaf from a Book of Hours: Office of the Dead: Angel Chasing a Devil (recto)Coëtivy Master (French)c. 1460Cleveland Museum of Art

Pietà, Unknown — PietàUnknownc. 1460Cleveland Museum of Art

Also at Metropolitan Museum of Art, New York, NY

695

Marble female figure, Bastis Master — Marble female figureBastis Master2600–2400 BCEMetropolitan Museum of Art, New York, NY

Relief Fragment with a Ship Under Sail, Unknown — Relief Fragment with a Ship Under SailUnknownca. 2465–2458 BCEMetropolitan Museum of Art, New York, NY

Tomb Chapel of Raemkai: South Wall, Unknown — Tomb Chapel of Raemkai: South WallUnknownca. 2446–2389 BCEMetropolitan Museum of Art, New York, NY

West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah, Unknown — West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and WerdjedptahUnknownca. 2420–2250 BCEMetropolitan Museum of Art, New York, NY

Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching Lion, Unknown — Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY

Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh Sign, Unknown — Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh SignUnknownca. 2150–2010 B.C.Metropolitan Museum of Art, New York, NY

Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a Lion, Unknown — Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY

Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tail, Unknown — Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tailUnknownca. 2100–2080 B.C.Metropolitan Museum of Art, New York, NY

In the stacks

Not yet checked4

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

Vision and Design · Roger Fry
Drawing still retained something of the blunt, almost brutal frankness of statement, together with the sense of the characteristic which marked its earlier period. And it is perhaps this inheritance of Gothic directness of statement, this Gothic realism, that accounts for what is ultimately of most value in Dürer’s work. There exists in the Kunsthistorisches Akademie at Vienna a painting of a man, dated 1394, which shows how much of Dürer’s portraiture was already implicit in the Nuremberg school. In this remarkable work, executed, if we may trust the date,
0.73
Vision and Design · Roger Fry
What, then, lies at the root of Dürer’s art is this Gothic sense of the characteristic, already menaced by the professional bravura of the late Gothic craftsman. The superstructure is what Dürer’s industry and intellectual acquisitiveness, acting in the peculiar conditions of his day, brought forth. It is in short what distinguishes him as the pioneer of the Renaissance in Germany. This new endeavour was in two directions, one due mainly to the trend of native ideas, the other to Italian influence. The former was concerned mainly with a new
0.72
The Bases of Design · Walter Crane
Up to the end of the fifteenth century the Gothic and ornamental feeling is still dominant in the treatment of the design of woodcuts in books, and most instructive and suggestive they are in simplicity of method and line, and directness of expression. Characteristic German work of Gothic feeling and considerable graphic force is seen in the woodcuts of the Nuremberg Chronicle (1493) designed by Michael Wolgemuth, the master of Albert Dürer. In these vigorous cuts we may plainly see the tradition of that Gothic feeling and style of graphic
0.72
principles of art history · heinrich wolfflin
Dürer patterns do not coincide with objective facts, but for all that, they are lines, clear, ornamental patterns which are intended to be seen for themselves, which do not merely assert themselves in the impression of the whole but can hold their own even at the closest range. Therein lies the difference from the painterly foliage painting of the seventeenth century. If we wish to speak of premonitions of the painterly style, we shall find them rather in the fifteenth century than in the sixteenth. We find there, indeed, in
0.71

Albrecht Dürer made Salvator Mundi, and made these too.

Made in the sixteenth century, like Salvator Mundi.

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