John Currin

The Hobo

1999

Part of a generation of artists associated with the reemergence of figurative painting in the 1990s, John Currin explores the history of painting and, in particular, the female figure in art.

With technical virtuosity, Currin conjures both the elevated intent of the Old Masters and the more base appeal of cheesecake pin-up images. His subjects have included old women, middle-aged divorcées, and couples, but the works that gained him notoriety and a critical following are his depictions of large-breasted young women in provocative poses.

 In The Hobo, the protagonist, wearing diaphanous undies, displays herself in an overtly sexual manner while at the same time projecting a strong sense of independence as she forges ahead on her journey. Completely self-aware, Currin’s gamine challenges notions of female innocence and objectification.

Currin draws inspiration for his figures from Mannerist and Renaissance painting. Exaggerating the female form through elongation and dramatic distortion, he creates psychologically disturbing figures. His combination of traditional techniques with contemporary interests results in a heady blending of nostalgia, desire, vulgarity, and kitsch.