Supper at Emmaus - Albrecht Dürer
Archival giclée
Ready to hang
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Made to order
Description
A classic woodcut by Albrecht Dürer depicting the biblical Supper at Emmaus, featuring his signature monogram and precise line work.
This woodcut by Albrecht Dürer depicts the biblical scene of the Supper at Emmaus, a moment of recognition where the resurrected Christ reveals his identity to his disciples. Dürer employs his characteristic mastery of line to define the figures and the architectural space. The composition is framed by a rounded arch, which creates a sense of enclosure around the central figure of Christ. Christ sits at the centre of the table, his head surrounded by a radiating halo that serves as the primary light source for the scene. His hands are positioned in a gesture of blessing over the bread. Two disciples are seated on either side of the table, their postures conveying surprise and contemplation. Dürer uses dense hatching and cross-hatching to model the folds of their garments and the texture of the wooden table, providing a tactile quality to the print. The artist includes his well-known monogram, the AD cipher, in the lower left corner, a mark of his professional identity. The scene is rendered with a focus on human expression and the physical reality of the setting, typical of Dürer's approach to religious subjects. The stark contrast between the black ink and the paper surface allows the dramatic light emanating from Christ to dominate the visual field. This work belongs to a series of prints that demonstrate Dürer's technical skill in the medium of woodcut, a craft he elevated through his precise control of line weight and spatial depth. The figures are dressed in contemporary attire, a common practice in Northern Renaissance art to bring biblical narratives into the viewer's own time and context.
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.
Supper at Emmaus - 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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