My dissertation examines the question of perception and spectatorship of the Renaissance image in the contemporary arena through close analysis of Peter Greenaway’s films The Belly of An Architect, Prospero’s Books and The Baby of Macôn and the installation series Nine Classic Paintings Revisited (2006-2010). Greenaway’s relationship with the Italian Renaissance and his overall adaptation of paintings from that period is examined to demonstrate the coherence in Greenaway’s work. The discussion of the films is intended to highlight intersections with Nine Classic Paintings Revisited. Regarding Nine Classic Paintings Revisited, I argue that Greenaway’s digital installations of the Last Supper and Wedding at Cana are valuable examples of the power of new media technologies to resurrect canonical paintings from the Italian Renaissance through a process of transformation and metamorphosis that serves to revitalize appreciation. In presenting the installations, I draw upon adaptation studies, intermedial studies, and postmodern studies. Specifically addressing the question of reproduction in art, I contend that Greenaway’s digital intervention at a minimum complicates, if not stands in opposition to Walter Benjamin’s stance on reproduction, successfully generating aura tantamount to the auratic force of the original.