Fine Art Poster
From £28
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Crowning with Thorns - Albrecht Dürer
Prix régulier
£28.00 GBP
Prix de vente
£28.00 GBP
Prix régulier
Giclée d'art
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Paiement sécurisé
Fabriqué sur commande
Description
A detailed pen and ink drawing by Albrecht Dürer, depicting the biblical Crowning with Thorns with precise hatching and architectural perspective.
This pen and ink drawing by Albrecht Dürer depicts the biblical scene of the Crowning with Thorns. The composition is structured within a vaulted architectural space, which provides a sense of depth and enclosure. Dürer employs his characteristic precision in the line work, using varied hatching techniques to define the forms of the figures and the textures of their garments. The central figure of Christ is seated, surrounded by tormentors who press the crown of thorns onto his head with a long staff.
The figures are rendered with a focus on anatomical accuracy and expressive movement. Dürer captures the physical exertion of the soldiers and the resignation of Christ through their postures and facial expressions. The architectural setting, with its rounded arches and stone-like surfaces, reflects the influence of Italian Renaissance perspective on Dürer's work. Despite the absence of colour, the drawing possesses a high degree of visual clarity. The artist uses light and shadow to create volume, ensuring that the figures remain distinct from the background.
This work belongs to a period in Dürer's career where he refined his mastery of graphic media. His ability to convey complex narratives through line alone is evident here. The drawing demonstrates his attention to detail, from the folds of the drapery to the specific gestures of the hands. It is a study of human emotion and physical interaction, presented with the technical rigour that defines his output. The work remains a clear example of his contribution to the development of printmaking and drawing in the Northern Renaissance, showing his capacity to integrate classical structure with a northern sensibility for detail.
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Fabrication
Chaque impression est réalisée à la commande par impression giclée 12 couleurs sur papier d'archivage certifié FSC. Conçue en Grande-Bretagne et imprimée dans votre centre de production le plus proche afin de réduire le gaspillage et d'accélérer la livraison.
Entretien et matériaux
Caractéristiques spécifiques
Chaque pièce Solis est fabriquée sur commande avec des matériaux de qualité galerie, conçus pour durer, destinés à la conservation.
- Impression giclée de qualité musée pour des couleurs riches et résistantes à la décoloration
- Papier beaux-arts mat d'archivage, certifié FSC
- Plusieurs tailles et options d'encadrement disponibles
- Cadres en noir, bois naturel, bois foncé ou blanc
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Entretien et nettoyage
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- Époussetez délicatement avec un chiffon doux et sec
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Matériaux et dimensions
Impression giclée de qualité musée sur papier mat d'archivage certifié FSC, avec options d'encadrement et sur toile.
- Formats de papier : A4, A3, A2, A1, A0 et B2 (50×70 cm)
- Toile : du XS (20×30 cm) au Grand (60×90 cm)
- Cadres : noir, bois naturel, bois foncé ou blanc
Complétez le look
Crowning with Thorns - Albrecht Dürer
Prix régulier
À partir de £28.00 GBP
Prix de vente
À partir de £28.00 GBP
Prix régulier
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Albrecht Durer
Dürer brought the Italian Renaissance to northern Europe and took northern European printmaking to Italy. He went both ways. He visited Venice twice (1494-95 and 1505-07) and absorbed the colour, light, and anatomical precision of Bellini and Mantegna. He brought back a confidence in the human figure that German art had not previously possessed. In return, he showed the Venetians what could be done with a woodcut and an engraving burin.
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.
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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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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