The Flight into Egypt - Albrecht Dürer
Archival giclée
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Description
A detailed woodcut from the Life of the Virgin series, depicting the Holy Family on their journey, rendered with the technical precision of Albrecht Dürer.
This woodcut belongs to the Life of the Virgin series, a collection of twenty prints produced by Albrecht Dürer between 1500 and 1511. The scene depicts the Holy Family during their journey to escape the decree of Herod. Mary sits atop a donkey, cradling the infant Jesus, while Joseph leads the animal through a dense, wooded path.
Dürer demonstrates his mastery of the woodcut medium through the varied application of line. He uses dense hatching to create deep shadows within the forest, contrasting with the lighter, more open areas that define the figures. The foliage is rendered with precision, showing the artist's interest in natural observation. A large, palm-like tree dominates the left foreground, its textured trunk and fronds providing a vertical anchor for the composition. In the upper right, a group of cherubs emerges from swirling clouds, adding a celestial dimension to the earthly journey below.
The artist includes his characteristic monogram, the AD tablet, at the bottom left, hanging from a wooden fence post. This print reflects the technical sophistication Dürer brought to printmaking, moving away from the simpler, bolder styles of his predecessors. The narrative is contained within a rich, atmospheric environment where every element, from the rocky ground to the distant trees, receives careful attention. This work remains a primary example of Dürer's ability to combine religious iconography with the meticulous detail of the Northern Renaissance tradition.
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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
The Flight into Egypt - 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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