Holy Family with the Rabbits - Albrecht Dürer
Archival giclée
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Description
A detailed woodcut by Albrecht Dürer, depicting the Holy Family in a garden setting with rabbits and angels.
Albrecht Dürer produced this woodcut, known as The Holy Family with the Rabbits, during the late 1490s. It represents a period where the artist refined his mastery of the woodcut medium, moving away from the stark, linear style of his predecessors toward a more nuanced approach to form and light. The composition features the Virgin Mary seated in a garden, holding the Christ Child, while Saint Joseph stands to the right. Above them, two angels hold a crown, adding a layer of celestial hierarchy to the scene.
The foreground contains several rabbits, which provide the work with its common name. These animals, alongside the carefully rendered plants and grasses, demonstrate Dürer's interest in natural observation. The background reveals a distant view of a walled town and a river, rendered with atmospheric perspective that draws the eye into the depth of the scene. Dürer uses a variety of hatching and cross-hatching techniques to define the folds of the garments and the textures of the natural elements, creating a sense of volume without the use of colour.
This print reflects the technical precision that defined Dürer's career. By employing a dense network of lines, he achieved a tonal range that was previously difficult to attain in woodblock printing. The work remains a primary example of how Dürer elevated the woodcut from a simple illustrative tool to a sophisticated medium capable of conveying complex theological narratives and detailed observations of the physical world. The presence of his monogram, the AD, at the bottom centre confirms his authorship and his pride in the quality of the execution. This print is a clear example of the Northern Renaissance focus on detail and the integration of religious subjects within a recognisable, earthly environment.
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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
Holy Family with the Rabbits - 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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