The Assumption of Saint Mary Magdalene - Albrecht Dürer
Archival giclée
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Description
A detailed woodcut by Albrecht Dürer depicting the legend of Saint Mary Magdalene being elevated by angels.
This woodcut depicts the legend of Saint Mary Magdalene, who, according to the Golden Legend, spent thirty years in a desert cave as a hermit. The print captures the moment of her daily elevation by angels, who carry her into the heavens to hear the celestial music of the spheres. Albrecht Dürer employs his characteristic precision in the line work, using varied hatching to define the musculature of the saint and the soft textures of the cherubs surrounding her. The composition is divided between the terrestrial and the celestial. In the lower left, a small figure of a monk or hermit observes the miracle, providing a sense of scale to the central event. The background features a coastal scene with rocky outcrops and distant ships, typical of the Northern Renaissance interest in combining religious narrative with observable natural details. Dürer's monogram, the famous AD, is visible on a tablet in the foreground, confirming his authorship of this technical achievement. Technically, the print demonstrates the high level of control Dürer achieved in the medium of woodcut. The lines are crisp and deliberate, creating a sense of volume and movement despite the two-dimensional constraints of the block. The angels are arranged in a circular formation around the saint, guiding the viewer's eye upward. This work reflects the period's fascination with hagiography and the integration of classical human form with Christian iconography. The balanced composition and the clarity of the narrative demonstrate the artist's ability to translate complex theological concepts into accessible visual form. It remains a fine example of early sixteenth-century printmaking, showing the transition from medieval stylistic conventions toward the more naturalistic approach of the Renaissance.
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.
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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.
The Assumption of Saint Mary Magdalene - 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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