Saint Jerome in his Study - Albrecht Dürer
Archival giclée
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Description
A masterpiece of Northern Renaissance engraving, this 1514 work by Albrecht Dürer depicts Saint Jerome in a sun-drenched, scholarly interior.
Albrecht Dürer created this engraving in 1514, during the height of his career in Nuremberg. It is one of his three 'Meisterstiche' (master engravings), alongside 'Knight, Death and the Devil' and 'Melencolia I'. The work depicts Saint Jerome, the scholar and translator of the Bible, seated at a desk within a sunlit room. Dürer demonstrates his mastery of perspective and light, as the sun streams through the leaded glass windows, casting patterns across the floor and walls.
The composition is filled with symbolic objects. A skull rests on the window ledge, serving as a memento mori, while a crucifix stands on the desk. In the foreground, a lion and a dog sleep peacefully together. The lion is a traditional attribute of Saint Jerome, referencing the legend where he removed a thorn from the animal's paw. The dog represents fidelity. Every element, from the wooden beams of the ceiling to the texture of the cushions, is rendered with precise, controlled lines.
Dürer used a sophisticated system of hatching and cross-hatching to create tonal depth and volume. The light appears to emanate from the window, illuminating the saint's workspace and creating a sense of quiet, intellectual focus. This print reflects the humanist interest in scholarship and the contemplative life during the Renaissance. The artist's monogram, AD, is visible on a small tablet in the bottom right corner. This work remains a primary example of the technical capabilities of early sixteenth-century printmaking, showing how an artist could achieve painterly effects through the medium of the copper plate.
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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
- 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
Saint Jerome in his Study - 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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