Mr. Mandela
Description:
Painting - Acrylic Paint On Wood
The original work is currently for sale.At the present time,
originals are not offered for sale through the Fine Art America secure checkout
system. Please contact the artist directly to inquire about purchasing this
original by clicking on the picture link below.
Please Click On The Picture Link Above To See Arthur’s Web Page:
Arthur Benjamins Biography:
Arthur Benjamins (St) Nbs stems from a firm lineage of Dutch painters. Apart from Vincent van Gogh, Piet Mondrian, Willem de Kooning, Karel Appel and many more previous, his roots are planted in his grandfather’s steps and his great-grand uncle, Jacob J. Arend, who’s work can be found in the Rotterdam museum, Boijmans van Beuningen. Even before that, one of his great uncles, Asser Benjamins, who emigrated to the USA in the early 1900s, was granted a patent in 1921 on his gemstone cutting head device invention. Being no stranger to inventions himself, Arthur Benjamins has at least 8 patents in his name in the field of specific product design.
Born in Rotterdam in 1953, Arthur Benjamins also shares that large city with Willem de Kooning who was born there 49 years previous. Arthur’s early childhood was spent in Rhodesia (Zimbabwe) and from there he moved to Rotterdam in 1963 where, living on the busy Maas River, began to develop his technical interest for the ships, dry docks and cranes.
Benjamins trademark photo-realism took hold in the early 1980s. Since then, the UK motoring press has called him one of ours. His highly publicised motor racing, aviation and record breaking originals pioneered a style that has been mimicked by many other painters but never equalled. Even his pioneering choice of paints set his work apart from the establishment, an applecart he was never afraid to upset. At the end of the 20th century, he was ready for a fresh challenge and he turned towards a period of transition that would emerge with the new millennium. Unlike his fellow countryman, Piet Mondrian, who was a revisiting painter and would change a painting once or even several times, Benjamins proceeds to paint continual narratives. Every one of his paintings forms an opinion or a view of the subject that is portrayed. Benjamins states: 'Once a sentence has been spoken, than those words cannot be recalled. That opinion, rhetoric or statement as flattering or hurtful as it may be, is set in stone. Every one of my paintings in sequence is a snapshot, a frame of a film or the lyrics of a ballad, which can never be undone' Over the centuries, the many styles of painting culminated in a myriad of genres of which many remained in obscurity but some prospered into modern day vernacular. The 1960s iconic Pop-art icon images from Andy Warhol and Jasper Johns covered a certain range, however, Benjamins work extends beyond those in where colour, composition and textures become part of the discovery processes where the multi-divergence of viewers explanations becomes obvious. A mental space unfolds with a very clear salute to Surrealism. He incorporates a far wider range of iconic images of which many are in the process of extending into, or are already well beyond the consideration of ephemera. His Benjaminsarian universe of choice and rendition of icons, the progression and regression of subject matter in two-and-three dimensions are an epicentre, wherein one moment, the raised surface or texture is used as a substrate, the next, as an underscore or shadow. His work encompasses strong, clear images that people can recognise and identify with. It is sharp, precise, strong in colour and surface. There is no evidence of painterly muddiness, no sentimentality, no trace of the painters doubting soul, trembling hand or lack of direction. Benjamins' jaw is set firm. With a re-emergence of stark, central imagery that again dominates his work, his path of Abstract Iconography will form a completely new genre, which, in turn upsets that staid applecart yet again.
Born in Rotterdam in 1953, Arthur Benjamins also shares that large city with Willem de Kooning who was born there 49 years previous. Arthur’s early childhood was spent in Rhodesia (Zimbabwe) and from there he moved to Rotterdam in 1963 where, living on the busy Maas River, began to develop his technical interest for the ships, dry docks and cranes.
Benjamins trademark photo-realism took hold in the early 1980s. Since then, the UK motoring press has called him one of ours. His highly publicised motor racing, aviation and record breaking originals pioneered a style that has been mimicked by many other painters but never equalled. Even his pioneering choice of paints set his work apart from the establishment, an applecart he was never afraid to upset. At the end of the 20th century, he was ready for a fresh challenge and he turned towards a period of transition that would emerge with the new millennium. Unlike his fellow countryman, Piet Mondrian, who was a revisiting painter and would change a painting once or even several times, Benjamins proceeds to paint continual narratives. Every one of his paintings forms an opinion or a view of the subject that is portrayed. Benjamins states: 'Once a sentence has been spoken, than those words cannot be recalled. That opinion, rhetoric or statement as flattering or hurtful as it may be, is set in stone. Every one of my paintings in sequence is a snapshot, a frame of a film or the lyrics of a ballad, which can never be undone' Over the centuries, the many styles of painting culminated in a myriad of genres of which many remained in obscurity but some prospered into modern day vernacular. The 1960s iconic Pop-art icon images from Andy Warhol and Jasper Johns covered a certain range, however, Benjamins work extends beyond those in where colour, composition and textures become part of the discovery processes where the multi-divergence of viewers explanations becomes obvious. A mental space unfolds with a very clear salute to Surrealism. He incorporates a far wider range of iconic images of which many are in the process of extending into, or are already well beyond the consideration of ephemera. His Benjaminsarian universe of choice and rendition of icons, the progression and regression of subject matter in two-and-three dimensions are an epicentre, wherein one moment, the raised surface or texture is used as a substrate, the next, as an underscore or shadow. His work encompasses strong, clear images that people can recognise and identify with. It is sharp, precise, strong in colour and surface. There is no evidence of painterly muddiness, no sentimentality, no trace of the painters doubting soul, trembling hand or lack of direction. Benjamins' jaw is set firm. With a re-emergence of stark, central imagery that again dominates his work, his path of Abstract Iconography will form a completely new genre, which, in turn upsets that staid applecart yet again.
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