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The Annunciation (FS.II.320, Details of Renaissance Paintings), 1984
Price on Request
Details
Medium: hand-signed screenprint
Year: 1984
Edition: 120
Sheet size: 32.12 x 44"
Image size: 25.5 x 37.5"
Framed size: 37 x 49"
Signature: signed 'Andy Warhol' and annotated lower left
Year: 1984
Edition: 120
Sheet size: 32.12 x 44"
Image size: 25.5 x 37.5"
Framed size: 37 x 49"
Signature: signed 'Andy Warhol' and annotated lower left
About the Work
"The Annunciation (FS.II.320)" is a screenprint created by Andy Warhol for his 1984 series "Details of Renaissance Paintings." From the edition of 120, the artwork is signed 'Andy Warhol' and annotated lower left. The artwork is framed in a contemporary white frame and has a framed size of 37 x 49". The artwork ships framed and accompanied by a certificate of authenticity.
Andy Warhol’s "The Annunciation (FS.II.320), 1984," belongs to his "Details of Renaissance Paintings" series, in which he revisited historic images through the language of screenprinting, cropping, and high-key color. Rather than reproducing Leonardo da Vinci’s "Annunciation" in full, Warhol isolates a fragment of the composition and transforms it into something at once familiar and destabilized: a Renaissance image filtered through the visual language of Pop.
The source is sacred, but Warhol’s treatment is not conventionally devotional. The figures are pushed toward the edges, the narrative is interrupted, and the landscape becomes as important as the religious encounter itself. A hand appears at one side; a reclining figure occupies the other; between them, architecture, trees, water, and mountains stretch across the composition. By cropping the scene this way, Warhol shifts attention from storytelling to image-making. The viewer encounters the Annunciation less as a complete biblical episode than as a set of fragments, signs, and surfaces charged with inherited meaning.
Warhol’s use of Leonardo is especially fitting. The Renaissance painting was already an image of revelation, communication, and transmission; Warhol turns it into an image about the transmission of images themselves. Through cropping and screenprinting, he asks how art history survives in reproduction, and how a sacred subject changes when it is remade with the tools of modern media.
"The Annunciation" occupies a thoughtful place within Warhol’s late print production. It is less immediately commercial than his celebrity portraits or dollar signs, but it offers a more layered encounter with his interest in fame, icons, and repetition. Here, the icon is not a movie star or consumer brand, but a revered image from Western art history. Warhol does not erase its history; he reframes it, allowing the sacred, the historic, and the contemporary to coexist on the same surface.
About the Artist
The Annunciation (FS.II.320, Details of Renaissance Paintings), 1984
Regular price
$148,500.00
SELECTED WORK
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Sidewalk (FS.II.304, Eight by Eight), 1983
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Kiku (FS.II.308), 1983
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Electric Chair (FS.II.81), 1971
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The Annunciation (FS.II.321, Details of Renaissance Paintings), 1984
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Blackglama (FS.II.351, Ads), 1985
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