Annunciation - Albrecht Dürer
Archival giclée
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Description
Albrecht Dürer's 1526 engraving, "Annunciation", depicts the Angel Gabriel's announcement to the Virgin Mary. This work exemplifies Dürer's mastery of detail and his ability to blend religious narrative with artistic innovation during the Northern Renaissance.
Albrecht Dürer's "Annunciation", created in 1526, presents a scene of profound religious significance rendered with meticulous detail. As a master of the Northern Renaissance, Dürer brings a distinctive approach to this subject, blending Italian Renaissance ideals with the artistic traditions of his native Germany. The engraving depicts the Angel Gabriel's announcement to the Virgin Mary that she will conceive and bear a son, Jesus. The composition is rich with symbolism and intricate details. The angel, with feathered wings and flowing robes, gestures towards Mary, who sits in a chamber, a book open before her. A beam of light descends from above, signifying divine intervention. The setting is rendered with careful attention to perspective and architectural elements, showcasing Dürer's technical skill. The scene is filled with objects that carry symbolic weight, such as the lily, representing purity, and the dove, symbolising the Holy Spirit. Dürer's mastery of the engraving technique is evident in the fine lines and textures that bring the scene to life. The use of hatching and cross-hatching creates a sense of depth and volume, while the precise rendering of details, from the folds of the drapery to the expressions on the figures' faces, adds to the overall impact of the work. "Annunciation" exemplifies Dürer's ability to combine religious narrative with artistic innovation, making it a significant work of the Renaissance period.
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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. See our refunds page for full details.
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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.
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
Annunciation - 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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