The Death of the Virgin - Albrecht Dürer
Archival giclée
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Description
A masterful 1510 woodcut by Albrecht Dürer from his Life of the Virgin series, depicting the Apostles gathered around the Virgin Mary.
This woodcut by Albrecht Dürer, dated 1510, belongs to his series titled The Life of the Virgin. The composition depicts the final moments of the Virgin Mary, surrounded by the Apostles in a domestic interior. Dürer employs a sophisticated use of line to define the spatial depth of the vaulted room, the heavy folds of the bed curtains, and the varied textures of the figures' garments. The scene is constructed with a focus on human emotion and physical presence. The Apostles are arranged around the bed, each engaged in a distinct action: some offer prayers, others read from liturgical texts, and one figure holds a candle for the dying Mary. The artist uses cross-hatching to create shadow and volume, a technique that demonstrates his mastery of the woodcut medium. The architectural setting, with its barrel-vaulted ceiling, provides a structured frame for the figures, grounding the narrative in a tangible, physical space. Dürer's attention to detail is evident in the rendering of the bed frame, the hanging drapery, and the individual expressions of the mourners. The work reflects the artist's ability to synthesise Northern European realism with the structural clarity of Italian Renaissance composition. By placing the event within a contemporary setting, Dürer brings the biblical narrative into the viewer's own time, encouraging a personal connection to the subject matter. This print remains a primary example of Dürer's technical skill and his capacity to convey complex theological themes through the medium of printmaking.
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.
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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.
The Death of the Virgin - 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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