Details Of Renaissance Paintings (Paolo Uccello, F. & S. II.324-327) (complete set)
Details Of Renaissance Paintings (Paolo Uccello, F. & S. II.324-327) (complete set)
Signed Print
Andy Warhol
82 x 112cm, Edition of 50, Screenprint, 1984
£60,000-£90,000
$110,000-$170,000 Market Value Indicator
$110,000-$170,000 Market Value Indicator
¥530,000-¥800,000 Market Value Indicator
€70,000-€110,000 Market Value Indicator
$620,000-$930,000 Market Value Indicator
¥12,530,000-¥18,790,000 Market Value Indicator
$80,000-$120,000 Market Value Indicator
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Meaning & Analysis
Andy Warhol's Details Of Renaissance Paintings (Paolo Uccello, F. & S. II.324–327) from 1984 is a complete set of four signed screenprints, produced in an edition of 50. Based on a detail from Paolo Uccello's Renaissance painting Saint George and the Dragon (c. 1460), the portfolio reimagines the historic composition through four contrasting colourways. Combining vivid reds, blues, greens and pinks with bold graphic outlines, Warhol transforms a celebrated work of Renaissance art through his distinctive Pop Art aesthetic.
Created in 1984, Andy Warhol's Details Of Renaissance Paintings (Paolo Uccello, F. & S. II.324–327) comprises four screenprints inspired by Paolo Uccello's Saint George and the Dragon (c. 1460). The portfolio forms part of Warhol's wider Details of Renaissance Paintings series, in which he reinterpreted works by Renaissance masters including Sandro Botticelli, Leonardo da Vinci and Piero della Francesca.
Rather than reproducing Uccello's entire composition, Warhol isolates a detail featuring the princess and the dragon's wing, removing much of the original narrative context. Across the four prints, the composition remains consistent while dramatically different colour combinations transform its appearance. Saturated hues and strong contrasts replace the more restrained palette of the Renaissance original, giving the imagery a distinctly contemporary character.
The portfolio reflects Warhol's longstanding interest in appropriation and the reproduction of familiar images. By applying screenprinting techniques to an established masterpiece, he challenges the distinction between traditional fine art and mass-produced imagery. The series also demonstrates how cropping, repetition and colour can alter the interpretation of an existing artwork, bringing Renaissance imagery into dialogue with the visual culture of the 1980s.
