Venus Wiping Her Foot after Leaving the Bath - Albrecht Dürer
Archival giclée
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Description
An early Northern Renaissance engraving by Albrecht Dürer, depicting a classical scene of Venus and Cupid set against a detailed, fortified landscape.
This engraving, attributed to Albrecht Dürer, depicts a classical subject rendered through the lens of Northern Renaissance sensibilities. The composition features Venus seated at the edge of a body of water, attending to her foot, while a small Cupid stands nearby holding a bow. The scene is framed by a heavy curtain on the right, which provides a sense of domestic intimacy, contrasting with the expansive, fortified landscape in the background. The architectural elements, including a castle with towers and a drawbridge, reflect the specific aesthetic of late fifteenth-century German printmaking.
Dürer employed precise, controlled lines to define the forms of the figures and the textures of the surrounding environment. The musculature of Venus and the soft, rounded features of the Cupid demonstrate the artist's interest in human anatomy, a subject he studied extensively throughout his career. The cross-hatching techniques used to create shadow and depth reveal the technical mastery required for early copperplate engraving. The inclusion of the monogram at the bottom right corner identifies the work within the artist's extensive catalogue of prints.
Beyond the mythological narrative, the work functions as a study of spatial relationships. The transition from the foreground figures to the distant, detailed architecture creates a clear sense of depth. The water, rendered with horizontal lines, acts as a reflective surface that separates the immediate action from the distant, fortified structures. This print remains an example of how Dürer integrated classical themes into the visual language of his time, balancing human form with the detailed, atmospheric settings characteristic of his early period. The work is a study in both technical precision and the adaptation of Italianate subjects into the Northern European 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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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
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
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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
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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
Venus Wiping Her Foot after Leaving the Bath - 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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