Man of Sorrows with Hands Bound - Albrecht Dürer
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Beschreibung
A precise 1512 engraving by Albrecht Dürer depicting the Man of Sorrows, showcasing the artist's mastery of line and cross-hatching.
This engraving by Albrecht Dürer, dated 1512, depicts the figure of Christ as the Man of Sorrows. The composition presents Christ standing in a desolate, rocky terrain, his hands bound at the wrists. He wears a crown of thorns, and his expression conveys a sense of weary resignation. Dürer employs his characteristic mastery of the burin to create a range of textures, from the soft, flowing folds of the drapery to the rough, gnarled bark of the tree behind the figure.
The work is notable for its economy of line and the precision of its cross-hatching, which defines the musculature of the torso and the shadows within the fabric. Dürer includes his iconic monogram, the AD, in the upper left corner, positioned beneath the date. The background is sparse, featuring a distant shoreline and a single, skeletal tree, which directs the viewer's focus entirely toward the central figure. This print belongs to a period in Dürer's career when he refined his technique in copperplate engraving, moving away from the denser, more crowded compositions of his earlier woodcuts.
As a devotional image, the print invites quiet contemplation. The anatomical accuracy of the figure, combined with the subtle shading, demonstrates Dürer's interest in the human form and his ability to imbue a small-scale work with gravity. The print remains a primary example of the technical standards achieved in the early sixteenth century. It reflects the artist's ability to balance technical rigour with emotional clarity, providing a clear view of the subject without unnecessary ornamentation. The paper tone and the crispness of the lines in this museum-grade reproduction capture the quality of the original impression, allowing for a detailed examination of Dürer's mark-making process.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Man of Sorrows with Hands Bound - Albrecht Dürer
Artist Biography
Albrecht Durer
He was born in Nuremberg, the son of a Hungarian goldsmith. He trained as a goldsmith himself before apprenticing with the painter and printmaker Michael Wolgemut. The metalwork training gave him the manual precision that made his prints extraordinary. Melencolia I, Knight, Death and the Devil, and Saint Jerome in His Study, all made between 1513 and 1514, are among the finest engravings ever produced. The density of cross-hatching, the control of tonal gradation, the rendering of fur, feathers, and stone: these are virtuoso performances in a medium that most artists treated as reproductive.
He drew a rhinoceros from a description and a sketch sent by letter. He had never seen one. Dürer's Rhinoceros (1515) is anatomically wrong in several respects (the animal has an extra horn and armour plating) but it remained the standard European image of a rhinoceros for three centuries.
He was one of the first artists to paint self-portraits as a primary subject. The Self-Portrait at Twenty-Eight (1500) shows him facing the viewer directly, with long hair and a fur coat, in a pose traditionally reserved for Christ. It was either an act of supreme confidence or deliberate blasphemy. Probably both.
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