Albrecht Dürer, ‘Glorification of the Virgin’, 1502, Galerie d'Orsay

Image: 11 11/16 x 8 1/4”, Sheet: 11 13/16 x 8 7/16”. Although this is the last plate found in bound editions of The Life of the Virgin, it is actually the first of the twenty woodcuts from that series to have been carved, while at the same time being the first example of Dürer’s preoccupation with the intricate perspective of interiors. A strong and dark 16th century/lifetime impression from the Latin edition of 1511, without the letterpress text on the verso (typical of this the last print from the bound edition). The twentieth and final woodcut issued in the album The Life of the Virgin.

Signature: Signed in the block with the artist’s monogram lower center

Bartsch 95; Kurth 191; Meder 207; Strauss 70; Schoch/Mende/Scherbaum 185.

About Albrecht Dürer

Considered one of the foremost artists of the Renaissance period, Albrecht Dürer’s extensive work in printmaking transformed the categorization of the medium from craft to fine art. Often depicting religious subjects, Dürer’s woodcuts and engravings demonstrated unprecedented technical skill, tonal variation, and compositional sophistication. Dürer theorized extensively on linear perspective and anatomical proportion, concerns that were articulated in a vast body of written work as well as in his paintings and prints. Dürer’s skill earned him the role of court artist for Holy Roman Emperors Maximilian I and Charles V, under whom he created a number of paintings and altarpieces. Dürer’s series of self-portraits, created throughout his career, represent some of his most iconic works.

German, 1471-1528, Nuremberg, Germany, based in Nuremberg, Germany