Saint Bartholomew - Albrecht Dürer
Archival giclée
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Description
A detailed 1523 engraving by Albrecht Dürer depicting Saint Bartholomew with his traditional attributes, rendered with exceptional line work and tonal depth.
This engraving by Albrecht Dürer, dated 1523, depicts Saint Bartholomew, one of the twelve apostles. The figure stands in a contrapposto stance, draped in heavy, voluminous robes that demonstrate Dürer's mastery of line and shadow. The artist uses dense cross-hatching to create depth within the folds of the fabric, providing a sense of weight and physical presence. Bartholomew is shown with his traditional attribute, the flaying knife, held in his left hand. A large book is tucked under his right arm, signifying his role as a preacher and bearer of the word. To his side, a gnarled tree trunk provides a vertical anchor for the composition, while a small tablet at the base bears Dürer's characteristic monogram and the date of production. The precision of the burin work is typical of Dürer's later period, where he achieved a high degree of tonal variation through the careful spacing and layering of lines. The saint's expression is solemn and contemplative, his gaze directed slightly away from the viewer. The background remains minimal, allowing the focus to remain entirely on the figure and the texture of his garments. This work is part of a series of engravings depicting the apostles, reflecting the artist's interest in human form and classical proportions during the final decade of his life. The print captures the technical rigour that defined the German Renaissance, showcasing a balance between anatomical accuracy and symbolic representation.
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. EU customers have a 14-day cooling-off right. See our refunds page for full details.
Shipping
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.
Saint Bartholomew - Albrecht Dürer
Our Features
Designed for Lasting Impact
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
- Choose poster, framed print, canvas or framed canvas
- 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
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Artist Biography
Albrecht Dürer
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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