Details Of Renaissance Paintings (Paolo Uccello, St. George And The Dragon, 1460) (F. & S. II.324)
Details Of Renaissance Paintings (Paolo Uccello, St. George And The Dragon, 1460) (F. & S. II.324)
Signed Print
Andy Warhol
82 x 112cm, Edition of 50, Screenprint, 1984
£17,000-£25,000
$30,000-$50,000 Market Value Indicator
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¥150,000-¥220,000 Market Value Indicator
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$180,000-$260,000 Market Value Indicator
¥3,590,000-¥5,280,000 Market Value Indicator
$23,000-$35,000 Market Value Indicator
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Meaning & Analysis
Details Of Renaissance Paintings (Paolo Uccello, St. George And The Dragon, 1460) (F. & S. II.324) is a 1984 screenprint by Andy Warhol derived from Uccello's fifteenth-century painting. Set against a near-black ground, the composition foregrounds the dragon's vast wing alongside the white-silhouetted crowned princess. It belongs to the Renaissance Paintings series, translating Old Master paintings into Warhol's graphic language, published in a signed edition of 50.
In the mid-1980s, Warhol produced a series of screenprints based on Renaissance masterworks, lifting isolated details from Old Master paintings and running them through his flat graphic process. The Details of Renaissance Paintings series treated canonical art history the same way he had previously treated commercial imagery: as source material to be cropped, recoloured, and reprinted.
Details Of Renaissance Paintings (Paolo Uccello, St. George And The Dragon, 1460) (F. & S. II.324) focuses on the confrontation between the princess and the dragon, Uccello's landscape cropped away entirely to leave only the dramatic encounter against a near-black ground. The dragon's wing dominates the right half of the composition in teal, gold, and red, its elliptical markings rendered with a decorative intensity that transforms the creature into something closer to ornament than threat. Three red-centred eye-spots punctuate the dark wing surface, their concentric forms giving the image an almost psychedelic quality at odds with its medieval source. Against this, the white-silhouetted princess holds the left, her crowned profile calm and unreadable.
Working this closely with a single detail, Warhol treats Uccello's narrative as a pretext for graphic abstraction, the scale and colour of the wing becoming the composition's real subject.
