The Meeting of Joachim and Anna at the Golden Gate - Albrecht Dürer
Archival giclée
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Description
A masterful woodcut from Albrecht Dürer's Life of the Virgin series, depicting the reunion of Joachim and Anna with exceptional line work and spatial depth.
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 reunion of the parents of the Virgin Mary at the Golden Gate of Jerusalem, a moment of quiet intimacy set against a backdrop of architectural precision. Dürer employs a sophisticated system of hatching and cross-hatching to define form, texture, and light, demonstrating his mastery over the woodblock medium.
The composition is framed by a decorative arch, which acts as a threshold between the viewer and the narrative space. Joachim and Anna occupy the centre, their figures rendered with heavy, flowing drapery that suggests volume and weight. To the left, a group of onlookers observes the encounter, their expressions and postures adding a sense of human presence to the biblical event. In the background, Dürer includes a fortified city wall and a distant castle, elements that reflect his interest in spatial depth and the integration of figures within a constructed environment.
The artist's monogram, the famous AD, is visible on a tablet placed on the ground in the lower left corner. This inclusion asserts his authorship and professional identity, a common practice in his later works. The print is notable for its technical control, particularly in the way the lines follow the contours of the figures and the surrounding stone architecture. The balance between the foreground figures and the atmospheric background creates a sense of harmony. This work remains a primary example of Dürer's ability to elevate the woodcut from a simple illustrative tool to a medium capable of complex narrative and tonal variation.
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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 Meeting of Joachim and Anna at the Golden Gate - 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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