Fine Art Poster
From $39
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
The Torchlight Dance (Fakkeldans) - Albrecht Dürer
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A detailed woodcut depicting a formal courtly torchlight dance, capturing the fashion and social rituals of the early sixteenth-century German Renaissance.
This woodcut, attributed to the circle of Albrecht Dürer, depicts a formal courtly procession known as the Fakkeldans, or torchlight dance. The scene captures a group of figures in period attire, engaged in a choreographed movement within a structured architectural setting. The composition is divided into two distinct zones: the dancers in the foreground and the spectators observing from a raised gallery above.
The figures are rendered with the characteristic precision of early sixteenth-century German printmaking. The dancers, dressed in elaborate garments with slashed sleeves and decorative trim, hold hands in a circular formation. Their postures suggest a rhythmic, measured pace. The men carry long torches, which provide the thematic basis for the title. The artist employs a system of parallel hatching to define the folds of the clothing and the depth of the interior space, creating a clear distinction between the figures and the tiled floor.
In the background, the gallery is populated by men and women in various states of observation. A central female figure, possibly a person of high rank, sits beneath a decorative textile hanging, acting as the visual anchor for the upper register. The architectural elements, including the arched openings and the balustrade, provide a sense of order to the scene. The work demonstrates the technical capacity of the woodcut medium to convey complex social rituals and material textures through line alone. The attention to detail in the costumes, from the feathered caps to the heavy gowns, reflects the fashion of the period. This print offers a glimpse into the ceremonial life of the Renaissance court, where dance served as a public display of status and social cohesion.
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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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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.
Care and materials
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
Complete The Look
The Torchlight Dance (Fakkeldans) - Albrecht Dürer
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Albrecht Durer
Dürer brought the Italian Renaissance to northern Europe and took northern European printmaking to Italy. He went both ways. He visited Venice twice (1494-95 and 1505-07) and absorbed the colour, light, and anatomical precision of Bellini and Mantegna. He brought back a confidence in the human figure that German art had not previously possessed. In return, he showed the Venetians what could be done with a woodcut and an engraving burin.
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.
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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Fine Art Framed
From $119
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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