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The New Renaissance
1991
87 x 156 x 4 in. (220.98 x 396.24 x 10.16 cm)
Llyn Foulkes (Yakima, Washington, 1934 - )
Real and HyperReal (2010)
Llyn Foulkes is known for his self-portraits, cartoon-like tableaus, and humorous commentary on the human condition. His compositions often include actual fabrics and objects, which convey a heightened sense of realism and an immediate physical presence. In The New Renaissance, Foulkes grappled with his role as a painter in the late twentieth century. He depicted himself as a blindfolded plein-air (outdoor landscape) painter, who is disillusioned by the artistic conditioning literally tattooed on his brain. The artist appears to be suffering a loss of faith—both religious and patriotic—witnessed by the crucifix slowly dissolving above him and the souvenir-scaled Statue of Liberty. He paints the Chinese character for “man” and is accompanied by a ghostly presence (symbolic of his wife), who reads from a book titled The Human Condition. With a twinge of self-parody, Foulkes observed himself rendering the codes and clichés of representation in his craft.
Real and HyperReal, January 30, 2010 - August 1, 2010, New Wing, First Floor, Gibson Family and Plaza Galleries, San José Museum of Art.
It's About Time: Celebrating 35 Years, October 3, 2004 - February 13, 2005, New Wing, Gibson Family Gallery and Plaza Gallery, First Floor, San José Museum of Art.
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The New Renaissance
Painting
199187 x 156 x 4 in. (220.98 x 396.24 x 10.16 cm)
Llyn Foulkes (Yakima, Washington, 1934 - )
Object Type: Painting
Medium and Support: Oil, acrylic, wood, and recycled material on panel
Credit Line: Gift of the Lipman Family Foundation, in honor of the San Jose Museum of Art's 35th Anniversary
Accession Number: 2004.20
SJMA Label Text
Real and HyperReal (2010)
Llyn Foulkes is known for his self-portraits, cartoon-like tableaus, and humorous commentary on the human condition. His compositions often include actual fabrics and objects, which convey a heightened sense of realism and an immediate physical presence. In The New Renaissance, Foulkes grappled with his role as a painter in the late twentieth century. He depicted himself as a blindfolded plein-air (outdoor landscape) painter, who is disillusioned by the artistic conditioning literally tattooed on his brain. The artist appears to be suffering a loss of faith—both religious and patriotic—witnessed by the crucifix slowly dissolving above him and the souvenir-scaled Statue of Liberty. He paints the Chinese character for “man” and is accompanied by a ghostly presence (symbolic of his wife), who reads from a book titled The Human Condition. With a twinge of self-parody, Foulkes observed himself rendering the codes and clichés of representation in his craft.
Exhibition
Real and HyperReal, January 30, 2010 - August 1, 2010, New Wing, First Floor, Gibson Family and Plaza Galleries, San José Museum of Art.
It's About Time: Celebrating 35 Years, October 3, 2004 - February 13, 2005, New Wing, Gibson Family Gallery and Plaza Gallery, First Floor, San José Museum of Art.
Additional Images Click an image to view a larger version
Exhibition List
This object was included in the following exhibitions: - Real and HyperReal San Jose Museum of Art , 1/30/2010 - 8/1/2010
Dimensions
- Image Dimensions: 87 x 156 x 4 in. (220.98 x 396.24 x 10.16 cm)
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