IN THE GARDEN, figurative realism, mythological contemporary themes
View Similar Items
Want more images or videos?
Request additional images or videos from the seller
1 of 6
Renee FoulksIN THE GARDEN, figurative realism, mythological contemporary themes2019
2019
About the Item
- Creator:
- Creation Year:2019
- Dimensions:Height: 68 in (172.72 cm)Width: 54 in (137.16 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:Seller: RF-1001stDibs: LU2778983912
About the Seller
5.0
Vetted Seller
These experienced sellers undergo a comprehensive evaluation by our team of in-house experts.
Established in 1982
1stDibs seller since 2013
30 sales on 1stDibs
Typical response time: 2 hours
More From This SellerView All
- BEVELED - Contemporary Self Portrait / Photorealism / Trompe l'oeilBy Will WilsonLocated in New York, NYOriginal oil painting by Will Wilson.Category
Early 2000s Contemporary Portrait Paintings
MaterialsOil, Linen, Panel
- SELF PORTRAIT WITH BLACK HAT - Female PortraitBy Olga AntonovaLocated in New York, NYRussian-born artist Olga Antonova trained at the Repin Institute in Saint Petersburg and specializes in still life paintings of shiny kettles and porcelain china cups and plates, as ...Category
21st Century and Contemporary Contemporary Portrait Paintings
MaterialsCanvas, Oil
- SELF PORTRAIT WITH WHITE CRANE - Woman in Hat / Bird and Female FigureBy Olga AntonovaLocated in New York, NYBesides producing still-lifes rich with glowing colors, liquid surfaces and meaning, Olga Antonova also paints bust-length self-portraits in which she appears dressed for the occasio...Category
2010s Contemporary Portrait Paintings
MaterialsCanvas, Oil
- CONSTANCE II - Contemporary Realism / Portrait PaintingBy Stephen WrightLocated in New York, NY"Constance II" is an original oil painting by Stephen Wright.Category
2010s Contemporary Portrait Paintings
MaterialsCanvas, Oil
- CONSTANCE I - Contemporary Realism / Figurative Art / Red HairBy Stephen WrightLocated in New York, NY"In my paintings, I frequently use a tall vertical format. This makes it more challenging to develop a composition. As I proceed, I find it more interesting to work out the problems...Category
2010s Contemporary Portrait Paintings
MaterialsCanvas, Oil
- HOW TO BE HAPPY - Underwater Photorealism / Female Swimmer / Large PortraitBy Eric ZenerLocated in New York, NYOriginal oil painting by Eric Zener.Category
2010s Contemporary Portrait Paintings
MaterialsOil, Canvas
You May Also Like
- Incredulity -American Civil War Soldier, After Caravaggio, Original Oil on LinenBy William Blake (b. 1991)Located in Chicago, ILCaravaggio painted "The Incredulity of St. Thomas" with Christ looking down as he pilots Thomas’ hand to his side. Not looking at Thomas or the others, but to his wound. He seems interested in the proof of his embodiment. He wants to know that this is real. He too, questions his body, his life and death. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This artwork is unframed. Contact the gallery for framing options. Reenactment is a material culture where the feel of authentic wool has transformative power. The closer you can recreate the “kit” of the authentic soldier the closer you are to that past. In the pursuit of touching the past there are questions- Is this real? Did this happen? Is this me? Is this us? The gesture of piloting a finger into the side represents these repetitive questions. - William Blake Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War...Category
2010s Contemporary Figurative Paintings
MaterialsOil, Linen
- Justin (from Skype portraits series)By Sandro KoppLocated in New York, NYJustin (from Skype portraits series) 9.5 x 12 inches oil on canvasCategory
21st Century and Contemporary Contemporary Figurative Paintings
MaterialsLinen, Oil
- No Pasaran - Lone Soldier Symbolizing the Human Desire for Equality and FreedomBy William Blake (b. 1991)Located in Chicago, ILHugh Goffinet stares out from the canvas in the dress of a soldier, without being one. He is a reenactor of an African American volunteer in the Abraham Lincoln Battalion. His inspiration is the Lincolns—the battalion’s volunteers—but they are pictured only symbolically, in his dress. Their inspiration was Lincoln, who many decades earlier helped give meaning to the American Civil War, but who is invisible in the painting except by implication—the pose of Hugh Goffinet—which carefully emulates Lincoln’s pose in the celebrated presidential portrait by George Healy. Entirely hidden, at the deepest layer of history, is the true source of inspiration: the human desire for equality and freedom. To understand, honor, and preserve it requires remembrance, in this case with history animating reenactors who animate art that animates memory. "No Pasaran" - an expression of determination to defend a position against an enemy - channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to reflect upon the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. William Blake No Pasaran oil on linen 48h x 30w in 121.92h x 76.20w cm WIL047 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines at the Gettysburg National Military Park. A Great Battlefield, takes its title from Lincoln’s Gettysburg Address which poetically looks to the battlefield as a site of rebirth. Following the tradition of nineteenth-century American history painting...Category
2010s Contemporary Figurative Paintings
MaterialsLinen, Oil
- Ramparts - Inspiration Portrait of a Lone Soldier Staring Out at Viewer, OilBy William Blake (b. 1991)Located in Chicago, ILWilliam Blake’s oil painting asks us to perceive the powerful layers of history that shape both art and memory. In Blake’s painting is a man, but what Blake painted is an idea. Hugh Goffinet stares out from the canvas in the dress of a soldier, without being one. He is a reenactor of an African American volunteer in the Abraham Lincoln Battalion. His inspiration is the Lincolns—the battalion’s volunteers—but they are pictured only symbolically, in his dress. Their inspiration was Lincoln, who many decades earlier helped give meaning to the American Civil War, but who is invisible in the painting except by implication—the pose of Hugh Goffinet—which carefully emulates Lincoln’s pose in the celebrated presidential portrait by George Healy. Entirely hidden, at the deepest layer of history, is the true source of inspiration: the human desire for equality and freedom. To understand, honor, and preserve it requires remembrance, in this case with history animating reenactors who animate art that animates memory. Artist, William Blake channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to reflect upon the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. William Blake Ramparts oil on linen 24h x 30w in 60.96h x 76.20w cm WIL048 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines at the Gettysburg National Military Park. A Great Battlefield, takes its title from Lincoln’s Gettysburg Address which poetically looks to the battlefield as a site of rebirth. Following the tradition of nineteenth-century American history painting...Category
2010s Contemporary Figurative Paintings
MaterialsLinen, Oil
- Salud Johnny - Inspirational Portrait of a Lone Soldier Staring Out at ViewerBy William Blake (b. 1991)Located in Chicago, ILWilliam Blake’s oil painting asks us to perceive the powerful layers of history that shape both art and memory. In Blake’s painting is a man, but what Blake painted is an idea. Hugh Goffinet stares out from the canvas in the dress of a soldier, without being one. He is a reenactor of an African American volunteer in the Abraham Lincoln Battalion. His inspiration is the Lincolns—the battalion’s volunteers—but they are pictured only symbolically, in his dress. Their inspiration was Lincoln, who many decades earlier helped give meaning to the American Civil War, but who is invisible in the painting except by implication—the pose of Hugh Goffinet—which carefully emulates Lincoln’s pose in the celebrated presidential portrait by George Healy. Entirely hidden, at the deepest layer of history, is the true source of inspiration: the human desire for equality and freedom. To understand, honor, and preserve it requires remembrance, in this case with history animating reenactors who animate art that animates memory. Artist, William Blake channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to reflect upon the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. William Blake Salud Johnny, 2023 oil on linen 76h x 36w in 193.04h x 91.44w cm WIL049 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines at the Gettysburg National Military Park. A Great Battlefield, takes its title from Lincoln’s Gettysburg Address which poetically looks to the battlefield as a site of rebirth. Following the tradition of nineteenth-century American history painting...Category
2010s Contemporary Figurative Paintings
MaterialsLinen, Oil
- Under Your SkinBy Nigel CoxLocated in Belfast, GBUnder Your Skin, 2019 Signed Oil on Linen 24 x 24 in 61 x 61 cm "Nigel Cox's sparse scenes pit realistic figures against vague or turbulent backdrops. The solitude exhibited in thes...Category
2010s Contemporary Portrait Paintings
MaterialsLinen, Oil