Flowers (Black and White) (FS. 107) is one of ten screenprints from Andy Warhol’s 1974 Flowers (Black and White) portfolio. Drawing inspiration from floral illustrations found in a wallpaper catalogue titled Interpretive Flower Designs, Warhol created this series alongside its vibrant companion, Flowers (Hand-Colored). While both portfolios use the same floral templates, the black-and-white versions emphasize form and structure, removing color to spotlight Warhol’s delicate linework and compositional rhythm.

These works reflect a return to the hand-drawn aesthetic that defined Warhol’s early commercial illustration career in the 1950s. The prints feature expressive, fluid outlines that preserve the spontaneity and imperfection of the artist’s original sketches—qualities often obscured in his more polished, color-saturated Pop Art screenprints. The result is a series that feels intimate and understated, inviting closer contemplation of line and negative space.

Flowers were a recurring theme throughout Warhol’s artistic journey, appearing in many forms across decades. From the vividly colored Flowers series of the 1960s, based on a photograph of hibiscus blooms, to installations and wallpaper works, the motif served as a flexible vehicle for stylistic experimentation. In Flowers (Black and White) FS. II 107, Warhol approaches the subject with subtlety and restraint, stripping away the vibrancy and repetition often associated with his Pop aesthetic.

This particular print stands in contrast to Warhol’s 1970 Flowers series, which features bold outlines and saturated color fields applied with mechanical precision. In place of visual spectacle, Flowers (Black and White) (FS. II 107) offers a more nuanced exploration of gesture, line, and organic form—one that emphasizes the artist’s personal touch over the impersonal qualities of mass production.

Warhol is often associated with the mechanized, media-driven imagery of Pop Art—icons, celebrities, and consumer goods rendered with calculated detachment. Yet works like Flowers (Black and White) 107 reveal a different dimension of his practice. Here, Warhol retains the immediacy of hand-drawn lines even within the screenprinting process, allowing for a sense of warmth and individuality rarely seen in his more commercialized work.

Compared to his screenprints of Marilyn Monroe or Campbell’s Soup cans—works that often mask the artist’s presence behind bold, clean outlines—Flowers (Black and White) FS. II 107 feels more reflective and sincere. It bridges the divide between drawing and printmaking, between personal expression and mechanical reproduction, showcasing Warhol’s range and his willingness to challenge expectations within his own visual language.

Andy Warhol’s Flowers (Black and White) (FS. II 107) exemplifies a quieter, more introspective approach to a subject he returned to time and again. By focusing on line, composition, and the expressive quality of the artist’s hand, the work reveals a dimension of Warhol’s practice rooted in simplicity and sensitivity. As part of the larger Flowers (Black and White) portfolio, this print offers a meaningful counterpoint to Warhol’s more iconic Pop images—one that deepens our understanding of his artistry and the enduring flexibility of his vision.

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