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FOUR HORSEMEN. The Four Horsemen of the Apocalypse. Woodcut, 1546, by Matthias Gerung
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FOUR HORSEMEN. The Four Horsemen of the Apocalypse. Woodcut, 1546, by Matthias Gerung
FOUR HORSEMEN.
The Four Horsemen of the Apocalypse. Woodcut, 1546, by Matthias Gerung
Granger holds millions of images spanning more than 25,000 years of world history, from before the Stone Age to the dawn of the Space Age
Media ID 12345587
1546 Apocalypse Archer Arrow Celestial Cloud Doomsday Equestrian Evangelical Evil Four Heaven Matthias Monster Saint Scale
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EDITORS COMMENTS
This woodcut print, titled "FOUR HORSEMEN" transports us back to the year 1546 and into the realm of apocalyptic imagery. Created by Matthias Gerung, a renowned artist of his time, this piece showcases the Four Horsemen of the Apocalypse in all their ominous glory. The woodcut technique employed here adds a unique texture and depth to the image, enhancing its dramatic impact. The four horsemen are depicted as equestrian figures riding through celestial clouds, symbolizing their divine origins. Each horseman represents a different aspect of doom and destruction: an archer with arrows ready to strike, a monster-like creature embodying evil forces, a rider holding scales representing judgment day, and finally, a saintly figure on horseback signifying heavenly intervention. Gerung's attention to detail is evident in every stroke; he skillfully captures both the power and menace exuded by these mythical beings. As we gaze upon this print today, it serves as a reminder of humanity's fascination with eschatology throughout history. While we may not fully comprehend or share the evangelical beliefs that inspired Gerung's creation centuries ago, there is no denying the enduring allure of such imagery. This artwork invites contemplation about our own mortality while marveling at the artistic prowess behind its creation. "FOUR HORSEMEN" remains an evocative testament to Matthias Gerung's talent as well as an intriguing glimpse into past interpretations of doomsday scenarios – reminding us that art has always
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