Joachim and the Angel - Albrecht Dürer
Archival giclée
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Description
A masterful woodcut from Albrecht Dürer's 'Life of the Virgin' series, depicting the angel's annunciation to Joachim with exceptional line work and detail.
This woodcut by Albrecht Dürer depicts the moment the angel appears to Joachim, the father of the Virgin Mary, to announce the miraculous conception. It forms part of Dürer's 'Life of the Virgin' series, a collection of twenty woodcuts produced between 1500 and 1511. The composition demonstrates the technical mastery Dürer brought to the medium of the woodcut, elevating it from a simple illustrative craft to a sophisticated form of fine art. In the foreground, Joachim kneels in a rocky, wooded setting, his posture conveying humility and surprise. Above him, the angel descends with wings unfurled, holding a scroll that bears the message of the impending birth. Dürer fills the scene with specific details: a shepherd stands nearby, sheep graze in the middle distance, and a coastal town is visible across the water. The artist employs a variety of hatching techniques to create texture and volume, from the dense lines defining the tree trunks to the lighter, more fluid strokes used for the angel's drapery and the clouds. The work reflects the influence of Italian Renaissance perspective, which Dürer studied during his travels, combined with the meticulous attention to detail characteristic of German art of the period. The inclusion of the monogram 'AD' in the lower right corner confirms the print's place within his body of work. By balancing the supernatural event with grounded, naturalistic elements, Dürer creates a narrative that feels both immediate and timeless. This print remains a primary example of the precision and narrative clarity that defined his graphic output.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Joachim and the Angel - Albrecht Dürer
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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Artist Biography
Albrecht Dürer
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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