Fine Art Poster
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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.
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Artist Drawing a Portrait of a Man - Albrecht Dürer
Regular price
$120.00 NZD
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$120.00 NZD
Regular price
Archival giclée
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Description
A 1525 woodcut by Albrecht Dürer from his treatise on measurement, showing an artist who uses a glass frame and a fixed sight to draw a seated man in correct perspective.
Albrecht Dürer (1471–1528), the German painter and printmaker from Nuremberg, designed this woodcut for his treatise Underweysung der Messung, first published in Nuremberg in 1525. The full title, Underweysung der Messung mit dem Zirckel und Richtscheyt, means instruction in measurement with compass and ruler. The book set out geometry for artists and craftsmen, and this illustration shows one of its drawing devices in use. The scene is a bedroom with a canopied bed hung with heavy curtains. On the left a man sits in a chair with a scrolled arm, turned in profile towards the artist. On the right the artist stands at a tall table that holds an upright wooden frame with a pane of glass. He keeps his eye at a small sight on top of a vertical rod, so that his point of view stays fixed, and with a brush he traces the outline of the sitter onto the glass. A small pot stands on the table, a long chest stands against the wall behind him, and a candlestick and a hat sit on the floor between the two men. Dürer drew the scene for the block in close parallel hatching. The lines model the deep folds of the bed curtains and the clothes of both men, while the frame, the rod and the legs of the table are drawn as plainly as a diagram. That plain drawing suits a book that teaches a method: the reader can see how each part of the device is built and where the artist must stand. Impressions of the woodcut are held by The Metropolitan Museum of Art in New York (17.37.90), the Rijksmuseum in Amsterdam and the British Museum in London. It is catalogued as Bartsch 146. The Met's sheet measures 13.3 by 14.9 cm.
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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
Complete The Look
Artist Drawing a Portrait of a Man - Albrecht Dürer
Fine Art Poster / Small Square (30x30 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 $250
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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