Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.320)
Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.320)
Signed Print
Andy Warhol
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AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Screenprint
Edition size: 60
Year: 1984
Size: H 81cm x W 112cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2018 | Sotheby's New York - United States | Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.320) - Signed Print | |||
| June 2018 | Uppsala Auktionskammare - Sweden | Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.320) - Signed Print | |||
| January 2007 | Lempertz, Cologne - Germany | Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.320) - Signed Print |
Meaning & Analysis
Andy Warhol’s print Leonardo da Vinci, The Annunciation, 1472) (F. & S. II.320), from his Details of Renaissance Paintings series (1984) draws from Leonardo’s famous oil painting, The Annunciation (c. 1472-1475) now in the Uffizi gallery in Florence. Warhol’s rendition crops the original to show only the hands of the Angel Gabriel and Mary, a walled garden, and a landscape in the distance. Warhol replaces the muted tones of the 15th-century work with vibrant cerulean, peach, red, and yellow. Maintaining the original colour palette only in the two hands and trees, details for which Leonardo is known. This combined colour palette gives the work an impression of collaboration between the Old Master and the pop artist.
Warhol’s mature series, Details of Renaissance Paintings, draws on iconic works of Sandro Botticelli, Leonardo da Vinci, and Paolo Uccello, bringing them into contemporary life with bold new cropping and colour. The Pop Artist printed his first Renaissance recreation after seeing the Mona Lisa at its exhibition in New York in 1963. He returned to the subject two decades later, replicating several other iconic Italian paintings. In replicating these masterpieces, Warhol placed himself in the canon of greats.
