Emperor Maximilian I - Albrecht Dürer
Archival giclée
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Description
A detailed portrait of Emperor Maximilian I by Albrecht Dürer, capturing the monarch in his final year with characteristic Northern Renaissance realism.
This portrait of Emperor Maximilian I, executed by Albrecht Dürer in 1519, captures the Holy Roman Emperor in his final year. The work is a prime example of Dürer's mastery in oil painting, demonstrating his ability to render textures with precision. The Emperor is depicted in profile, a convention often used to convey authority and nobility. He wears a dark, wide-brimmed hat adorned with a medallion and a heavy fur-lined cloak that suggests his status and the cold climate of the imperial court.
In his right hand, Maximilian holds a pomegranate, a symbol frequently associated with the resurrection and the unity of the Church. The background is a flat, uniform green, which serves to isolate the figure and draw attention to his facial features and the Latin inscription above. This text, written in Roman capitals, details the Emperor's titles and virtues, reflecting the humanist interests of the period. Dürer's signature, the famous AD monogram, is visible on the right side, alongside the date.
The painting is notable for its psychological depth. Dürer does not idealise the subject; instead, he presents the aged monarch with a sense of realism, showing the lines of his face and the weight of his years. The contrast between the soft, luxurious fur and the firm, weathered skin of the Emperor demonstrates Dürer's technical skill. This portrait remains a significant record of the Habsburg dynasty, documenting the appearance of one of the most influential figures in European history at the close of his life. The composition is balanced and restrained, typical of Dürer's mature style, where every element serves to define the character and station of the sitter without unnecessary ornamentation.
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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
Emperor Maximilian I - 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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