The Beast with Two Horns like a Lamb

"The Beast with Two Horns like a Lamb" is a powerful woodcut created by Albrecht Dürer between 1496 and 1498. This seminal work belongs to Dürer’s groundbreaking Apocalypse series, which profoundly impacted the history of printmaking in the German territories during the crucial period spanning 1401 to 1500. Executed as a relief print on laid paper, the piece showcases Dürer’s mastery in translating complex theological narratives drawn from the Book of Revelation into stark, dynamic compositions. The artist’s intensity and meticulous execution helped elevate the woodcut medium from a simple illustrative technique to a major artistic force capable of conveying complex spiritual and political messages to a broad audience.

The subject is derived from the prophecy concerning the False Prophet (Revelation 13), described as the second beast arising from the earth. Dürer visualizes this terrifying figure, noted for having two horns like a lamb but speaking like a dragon, as it exercises authority over mankind and compels them to worship the first beast. The scene is dense with figures, demonstrating Dürer’s ability to handle scale and emotion within the confined, two-dimensional space of the wood block. Dürer’s adoption of dramatic contrasts and sharp linear clarity allowed these prints to circulate widely among a public fascinated by eschatological prophecies at the turn of the sixteenth century.

Dürer’s sophisticated approach to rendering light and shadow in this medium established a benchmark for subsequent artists. The influence of this series on the visual culture of the era cannot be overstated, marking a pivotal moment where book illustration transcended mere utility to become a form of independent high art. Today, original examples of this significant contribution to Renaissance art, classified under the broader category of prints, are highly valued. This particular impression of The Beast with Two Horns like a Lamb is held in the prestigious collection of the National Gallery of Art (NGA) in Washington, D.C. Digital versions of the artwork are often available through public domain initiatives, allowing scholars and enthusiasts access to Dürer’s inventive iconography.