Lamentation - Albrecht Dürer
Archival giclée
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Description
A detailed pen and ink study by Albrecht Dürer, capturing the solemnity of the Lamentation of Christ with precise line work and anatomical focus.
This work by Albrecht Dürer, dated 1504, depicts the mourning over the body of Christ. The composition is organised around the central figure of the Virgin Mary, who kneels in prayer beside the deceased Christ. To the right, the sarcophagus awaits, while the background features the distant silhouettes of the three crosses on Golgotha. Dürer employs a precise, linear technique, using varied hatching to define form, shadow, and texture across the figures and the rocky terrain.
The artist demonstrates his mastery of human anatomy and emotional expression through the slumped posture of Christ and the grief-stricken gestures of the surrounding figures. The inclusion of the artist's monogram and the date on the stone slab behind the Virgin Mary confirms the period of its creation, a time when Dürer was refining his approach to perspective and naturalism. The scene is rendered with a focus on the physical weight of the body and the sombre atmosphere of the burial site.
As a drawing, this piece offers a clear view into Dürer's working process. The lines are deliberate, showing the artist's control over the pen to create depth without the use of colour. The rocky outcrop and the sparse vegetation provide a stark, grounded setting for the narrative. This print captures the technical rigour and the theological focus characteristic of Dürer's output during the early sixteenth century. It remains a primary example of his ability to combine technical precision with narrative gravity, providing a window into the artistic practices of the German Renaissance.
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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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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.
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Specific Features
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- 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
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- 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
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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
Lamentation - 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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