The Sudarium Displayed by Two Angels - Albrecht Dürer
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Descripción
A detailed 1513 etching by Albrecht Dürer depicting two angels holding the veil of Veronica, showcasing the artist's mastery of line and shadow.
This etching by Albrecht Dürer, dated 1513, depicts two angels kneeling in profile, holding the sudarium, or veil, which bears the image of Christ's face. The work is a technical display of Dürer's mastery over the etching medium, a process he adopted later in his career. The composition is balanced, with the two figures mirroring each other to draw the eye toward the central cloth.
Dürer uses dense cross-hatching to create volume and texture, particularly in the heavy folds of the angels' robes and the feathers of their wings. The face of Christ on the cloth is rendered with precise, fine lines, conveying a sense of solemnity and weight. The background is kept relatively simple, which allows the focus to remain on the interaction between the celestial figures and the relic they present.
As a German artist of the Renaissance, Dürer brought a high degree of anatomical accuracy and psychological depth to his religious subjects. This print reflects his interest in the intersection of human form and divine narrative. The inclusion of his monogram and the date at the bottom centre is characteristic of his practice, ensuring his authorship was clear on his widely circulated prints. The work demonstrates his ability to manipulate light and shadow through line alone, a skill that defined his contribution to the history of printmaking. The figures possess a tangible presence, their garments cascading in complex patterns that reveal the artist's attention to detail. This piece remains a primary example of early sixteenth-century graphic art, showing the precision required to produce such detailed imagery on a metal plate.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
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Características específicas
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- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
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Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
The Sudarium Displayed by Two Angels - 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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