Portfolio of four screenprints on Arches Aquarelle (cold pressed) paper. Edition of 70, plus 18 AP (artists proofs), 5 PP (printers proofs), 5 HC (hors commerce), signed and numbered in pencil lower left. There are 36 TP (trial proof) portfolios, signed and numbered in pencil lower left.

This print is from Warhol’s Details of Renaissance Paintings series, depicting a Pop Art reproduction of Boticelli’s Venus. Warhol’s use of vibrant, unnatural colours—often neon and bold—departs from Botticelli's original palette. This shift not only modernises the image but also reflects Warhol’s interest in the artificiality of popular culture. The colours draw attention to the medium and the process, rather than the original subject matter, reinforcing the idea of art as a reproducible commodity.
Warhol has cropped the original Boticelli painting into just the face and hair of Venus, in a way not so dissimilar to that of his Marilyn Monroe or Liz Taylor portfolios. Furthermore, Warhol renders the classical beauty into exaggerated versions of colour used in the original painting, through her Auburn hair and pearly skin. By isolating and enlarging specific details from The Birth of Venus, Warhol deconstructs the original narrative of the painting. This fragmentation invites viewers to reconsider what these details represent in isolation from their original context. Warhol’s approach democratises the image, making the viewer focus on individual components rather than the holistic Renaissance narrative.
As Bernstein puts it, "Warhol’s Details of Renaissance Paintings ‘shows his willingness to raid the bastions of art history for images which suggest a gesture of homage to the past, and at the same time, through their pop colour and poster-like style, promote a position of iconoclastic irreverence.’ (Warhol as Printmaker)