Nativity - Albrecht Dürer
Archival giclée
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Description
A detailed woodcut by Albrecht Dürer from 1504, depicting the Nativity within a ruined stable setting.
This woodcut by Albrecht Dürer, dated 1504, belongs to his series known as The Life of the Virgin. The composition displays the artist's mastery of the medium, utilising precise line work to define the architectural decay of the stable and the figures within. Dürer depicts the scene with a focus on structural detail, from the exposed timber rafters of the roof to the crumbling stone masonry of the walls.
The Virgin Mary kneels in prayer before the infant, who rests in a simple basket. To the right, Joseph is shown in a contemplative posture, while a group of angels hovers in the upper left corner, their forms rendered with fluid, energetic lines. A star shines in the upper right, providing a singular light source that guides the eye across the scene. The contrast between the ruined architecture and the central figures creates a sense of quiet observation.
Dürer was a central figure in the Northern Renaissance, and his prints were widely circulated across Europe. This work demonstrates his ability to combine Italianate perspective with the descriptive detail characteristic of German art at the time. The print is notable for its technical control, particularly in the way the hatching creates depth and texture on the stone surfaces. It remains a clear example of the technical standards Dürer achieved in his woodcut production, influencing printmaking practices for generations. The inclusion of his signature monogram on a stone block in the foreground confirms his authorship and his pride in the quality of the work.
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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.
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
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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
Nativity - 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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