In this series, Warhol reinterprets several iconic Renaissance masterpieces through his distinct Pop Art lens. One such work is Paolo Uccello’s St. George and the Dragon (1460 (FS. II 325), which Warhol reimagined as a set of four screenprints. Each variation features different color combinations, giving each print a unique visual identity. In St. George and the Dragon 325 (FS. II 325), Warhol uses bold, saturated tones and overlays the image with a red-hued film, infusing the work with a distinctly Pop aesthetic. By isolating the damsel’s upper body and a single wing of the dragon, Warhol narrows the viewer’s focus to a specific, evocative fragment of the original scene—emphasizing fine details while recontextualizing the narrative.

Warhol’s goal with this series was to revitalize Italian Renaissance imagery by transforming it into bold, contemporary works. Using the screenprinting technique, he embraced repetition and color variation—hallmarks of commercial production—to explore how classical art could be reimagined in a modern, mass-consumed context. By cropping and deconstructing the original compositions, Warhol removed them from their traditional settings, inviting new interpretations. Rather than focusing on religious or heroic narratives, he highlighted visual form and symbolic ambiguity.

While Warhol intentionally distanced these works from their historical context, he also expressed admiration for the original artists. His transformation of Renaissance art into Pop imagery serves as both critique and homage, challenging viewers to see these iconic works not just as relics of the past, but as living images that can be continuously redefined.