Details of Renaissance Paintings (Leonardo da Vinci, The Annunciation, 1472) (complete set)
Details of Renaissance Paintings (Leonardo da Vinci, The Annunciation, 1472) (complete set)
Signed Print
Andy Warhol
82 x 112cm, Edition of 60, Screenprint, 1984
£130,000-£200,000
$240,000-$380,000 Market Value Indicator
$240,000-$370,000 Market Value Indicator
¥1,160,000-¥1,780,000 Market Value Indicator
€150,000-€230,000 Market Value Indicator
$1,350,000-$2,080,000 Market Value Indicator
¥27,270,000-¥41,960,000 Market Value Indicator
$170,000-$270,000 Market Value Indicator
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Meaning & Analysis
Details of Renaissance Paintings (Leonardo da Vinci, The Annunciation, 1472) is a complete set of four screenprints made in 1984 as part of Warhol's Renaissance Paintings series. Each print isolates the same landscape detail from Leonardo's Annunciation – mountain, cypress trees, architectural arcade, and the marginal hands of both figures – rendered across four distinct colourways. Signed and numbered from an edition of 60.
The complete set reveals the logic of the Renaissance Paintings series through repetition: the same extracted passage from Leonardo's Annunciation rendered across four colour schemes, each transforming the emotional register of the image wholesale.
In the warm orange variant, the mountain glows against a burnt sky. In the lavender version, everything recedes – ice-blue, lilac, cool – giving the composition a wintry stillness. The cream colourway strips the scene to near-monochrome, the mountain barely distinguishable from ground. The grey-blue variant, corresponding to F. & S. II.323, delivers the most chromatic intensity: hot pink mountain, chartreuse facade, magenta foreground wall.
What each version shares is the compositional decision to crop out the protagonists. The Annunciation is one of art history's defining images of sacred encounter, but Warhol's version presents the space between the figures – the background against which the drama unfolds – as the subject itself. The angel's lily and the Virgin's draped hand intrude only at the margins, almost as props. The narrative is evacuated, and what remains is landscape, geometry, and colour.
