The Presentation of the Virgin in the Temple - Albrecht Dürer
Archival giclée
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Description
A masterful woodcut from Albrecht Dürer's Life of the Virgin series, depicting the young Mary entering the temple amidst a detailed architectural setting.
This woodcut belongs to the Life of the Virgin series, a project Albrecht Dürer produced between 1500 and 1511. The composition depicts the young Mary ascending the steps of the temple to meet the high priest. Dürer employs a sophisticated architectural setting, using classical columns and vaulted arches to create a sense of depth. The scene is populated with various figures, including onlookers and merchants, which adds a layer of everyday life to the religious narrative.
Dürer demonstrates his mastery of the woodcut medium through the use of varied line weights. He employs dense hatching to define shadows and textures, such as the folds of the garments and the stone surfaces of the temple. The inclusion of a figure holding a torch in the upper right corner provides a contrast to the main action, while the small lamb in the foreground serves as a traditional symbol of sacrifice. The artist's monogram, the famous AD, is visible on a tablet in the lower right corner, confirming the authenticity of the print.
The work reflects the transition of Northern European art during the early sixteenth century, where traditional religious themes were increasingly rendered with a focus on perspective and humanistic detail. Dürer's ability to balance the monumental scale of the architecture with the individual expressions of the figures makes this print a notable example of his graphic output. The print captures the narrative tension of the moment, as the young Mary moves away from her parents toward her future role. The attention to material detail, from the baskets of goods to the specific attire of the observers, provides a window into the visual culture of the period.
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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 Presentation of the Virgin in the Temple - 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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