The Peasants at Market - Albrecht Dürer
Archival giclée
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Description
A detailed 1519 engraving by Albrecht Dürer depicting two peasants at a market, rendered with the artist's signature precision and cross-hatching technique.
Albrecht Dürer, a master of the Northern Renaissance, produced this engraving in 1519. It depicts a pair of peasants, a man and a woman, engaged in a transaction. The man stands in the foreground, gesturing with his hand, while the woman, carrying a basket of eggs and poultry, looks towards him. Dürer employs his characteristic precision in the line work, using cross-hatching to define the textures of their clothing, the wicker of the basket, and the weathered features of the figures. The composition is typical of Dürer's interest in the daily lives of common people, a subject he explored with both observational accuracy and a degree of caricature. The figures are rendered with a focus on physical reality, from the folds of their garments to the specific details of the goods they carry. The date 1519 is clearly visible at the top, and the artist's monogram, AD, appears on a stone block in the lower right corner. This work demonstrates the technical mastery of engraving that defined Dürer's career. By using a burin to cut directly into the copper plate, he achieved a range of tonal values and textures that were previously difficult to capture in print media. The scene provides a glimpse into the social and economic conditions of the early sixteenth century, presenting the subjects without idealisation. The background is kept minimal, ensuring the focus remains on the interaction between the two figures. This print remains a clear example of the artist's ability to elevate mundane subjects through technical rigour and careful observation.
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.
The Peasants at Market - 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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