Arm of Eve, previewed as a 16 by 20 inch giclée reproduction.

Look closer

See it on a wall

Albrecht Dürer

German, 1471–1528

Arm of Eve1507

point of brush and gray and black wash, brush and gray and black wash, heightened with white gouache

Sheet: 34.4 x 26.7 cm (13 9/16 x 10 1/2 in.)

Courtesy of the Cleveland Museum of Art · 1965.470

Arm of Eve is the only surviving preparatory drawing for Dürer’s life-size panels of Adam and Eve in the Museo del Prado, Madrid. More about this work

See it in the galleries

Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size

At this size the museum's file prints at 197 ppi: sharp at arm's length, a little softer than the smaller sizes up close.

Size
16 × 20 in · image 13¾ × 17¼
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

Made to order and shipped within the United States in about a week. Tax and shipping are added at checkout.

Download the full-resolution file, free · public domain, no account needed

About this work

Arm of Eve is the only surviving preparatory drawing for Dürer’s life-size panels of Adam and Eve in the Museo del Prado, Madrid. It is also one of the few surviving drawings by the artist made on Venetian blue paper, a support he began to use for his chiaroscuro studies while visiting Venice in the winter of 1506–7. With extraordinary economy of means, using only black and gray ink and a limited amount of wash and gouache for shading and heightening, Dürer suggested the grace and balance of the complete human form in this composition of a disembodied arm and hand. Such a study of a hand in ideal proportions cannot help but suggest the hand of the artist, a self-referential nod to his own abilities.

Text from the Cleveland Museum of Art.

How it was made

Opaque watercolour
Watercolour made opaque with white or chalk and laid in flat, even layers. Persian and Indian painters ground their colours from minerals, applied them with the finest brushes and burnished the finished page.

Albrecht Dürer

German, 1471–1528 · Born and died in Nuremberg.

Dürer trained as a goldsmith with his father and then under the Nuremberg painter Michael Wolgemut, whose studio produced woodcut book illustrations. Two journeys to Italy brought him into contact with Venetian painting and the theory of proportion, which he set out to bring north. He raised woodcut and engraving to new heights of detail and ambition, issuing his own series such as The Apocalypse and The Life of the Virgin, and his engraving Adam and Eve of 1504 shows his study of the ideal human figure.

Written by Ochre Editions.

See all 8 works by Albrecht Dürer

Renaissance

European art from about 1400 to 1600, when painters rediscovered perspective and the classical past.

More from Renaissance

Rights and the museum’s record

Public domain. The Cleveland Museum of Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1965.470
Credit
Courtesy of the Cleveland Museum of Art
Type
Drawing
Department
Drawings
Report this work

Tell us if this image shouldn't be here, or if its record is wrong. A person reads every report.

What's the concern?

More by Albrecht Dürer

All their works

Close in colour