The Cleansing of the Temple; Christ driving the money-changers from the temple and raising a scourge over his left shoulder, as if to strike a man on the floor, after Dürer by Marcantonio Raimondi

The Cleansing of the Temple; Christ driving the money-changers from the temple and raising a scourge over his left shoulder, as if to strike a man on the floor, after Dürer 1495 - 1539

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drawing, print

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drawing

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pen drawing

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mechanical pen drawing

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print

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pen illustration

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pen sketch

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junji ito style

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personal sketchbook

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pen-ink sketch

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men

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pen work

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sketchbook drawing

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sketchbook art

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christ

Dimensions Sheet: 5 1/8 in. × 4 in. (13 × 10.2 cm)

Curator: I find the composition of this piece quite striking. "The Cleansing of the Temple; Christ driving the money-changers from the temple and raising a scourge over his left shoulder, as if to strike a man on the floor, after Dürer," created sometime between 1495 and 1539 by Marcantonio Raimondi and residing at the Metropolitan Museum of Art. What do you see first? Editor: Chaos. The figures are crammed together, but each individual face, especially in the background, is rendered so distinctly that I keep trying to track everyone’s gaze. I think Raimondi's work transmits intensity through line and form. Curator: Indeed. Note Christ's posture: He’s about to strike a blow with the scourge. This links back to familiar iconography; the moment signifies spiritual purification, righting a wrong, and of course, power and judgment. Editor: Absolutely. But consider the technical execution. The pen strokes create incredible detail in the fabrics. The texture feels almost tangible. Raimondi creates a really striking contrast with light and dark which heightens the emotional turmoil. It's like a spotlight on the sacred versus the profane. Curator: Consider the figures driven from the temple. They scramble and protest. They carry symbols— the money bags and animals, right?—that carry coded weight. Animals that would have been sold as offerings, the instruments of trade that corrupted the holy space. There's that complex commentary between spiritual conviction and everyday vice. Editor: Visually, those details anchor the narrative, don't they? The falling table creates a really compelling diagonal that emphasizes the overall sense of dynamism. It leads the eye, a compositional gesture. The high contrast definitely pushes the drama here. It is theatrical in many ways, using graphic contrast rather than a broader tonal range. Curator: And that contrast really accentuates the central themes, reflecting our human struggle with maintaining spiritual integrity in the face of materialistic temptation. How these values echo through time. Editor: The stark black-and-white choices really give it a unique bite. Seeing Raimondi's dedication to capturing the dynamism really reinforces that idea. Curator: Precisely. It highlights how images resonate with cultural memory through symbols. Editor: Leaving us to continue questioning, considering the lasting visual effects.

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