The Virgin and Child with the Pear - Albrecht Dürer
Archival giclée
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Description
A detailed 1511 engraving by Albrecht Dürer depicting the Virgin and Child, noted for its precise line work and architectural background.
Albrecht Dürer produced this engraving in 1511, a period when his mastery of the burin reached its zenith. The composition depicts the Virgin Mary seated at the base of a tree, cradling the Christ Child. The child holds a pear, a fruit often associated with the sweetness of virtue or the salvation of humanity in Christian iconography. Dürer employs his characteristic precision to define the textures of the figures, from the soft folds of the Virgin's heavy drapery to the delicate curls of the child's hair.
The background reveals a fortified town with a bridge and towers, demonstrating Dürer's interest in architectural perspective and the integration of figures into a wider spatial context. The sky is rendered with fine, parallel hatching lines that suggest a sense of atmosphere and light. In the lower left corner, the artist includes his iconic monogram, the AD tablet, which serves as a mark of authorship and quality control for his printed works.
This work demonstrates the technical rigour of the Northern Renaissance. Dürer uses cross-hatching to create depth and volume, ensuring that the figures possess a tangible, sculptural quality. The contrast between the foreground figures and the distant town creates a sense of recession, guiding the viewer's eye across the scene. The print is a fine example of Dürer's ability to combine theological subject matter with the observational detail that defined his career. It remains a primary reference for the study of early modern printmaking techniques and the development of the graphic arts in Germany.
Return policy
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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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 Virgin and Child with the Pear - 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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