Samson and the Lion - Albrecht Dürer
Archival giclée
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Description
A detailed woodcut by Albrecht Dürer depicting the biblical struggle between Samson and the lion, rendered with technical precision.
Albrecht Dürer produced this woodcut, Samson and the Lion, during the late fifteenth century. It depicts the biblical figure of Samson wrestling a lion, a subject drawn from the Book of Judges. Dürer employs his characteristic mastery of the woodcut medium to define the muscular tension of the protagonist and the coarse texture of the lion's mane. The composition balances the central struggle with a detailed background, featuring a fortified town and a distant sea, which provides a sense of scale and environment. The print displays the technical precision Dürer brought to his graphic works. He uses varied line weights to create depth and shadow, moving away from the flatter styles common in earlier German woodcuts. The figure of Samson is rendered with a focus on anatomical accuracy, while the surrounding flora and the distant architecture show the artist's interest in observation and perspective. The monogram AD is visible at the bottom centre, a mark of the artist's professional identity. This work is part of a broader tradition of biblical illustration that flourished in Nuremberg during the Renaissance. Dürer's ability to translate complex narratives into a single, static image allowed his prints to circulate widely, influencing artists across Europe. The print remains a clear example of his early graphic output, demonstrating the transition from medieval conventions to the more naturalistic approaches of the Northern Renaissance. The scene is contained within a simple border, focusing the viewer's attention on the physical exertion of the encounter.
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.
Samson and the Lion - 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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