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Thread: The paintings of Chris Bennett.

  1. #91
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    Beautiful work Chris. Been away for a while and what I find when I'm back !
    Your works and the explanations/principles behind'em are calling for more than Whaaa and Goshhh... But I don't really know what to add.
    I'm still charmed by the tons and colours, subtle lights and global feeling.
    The new planes thingy is quite enjoyable, very fluid too.
    Love those "head" images.
    "Tart" is brilliant.
    Keep on.
    Z.

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  3. #92
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    cool bro this caught my eye from the thumbnail really cool

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  5. #93
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    e338: Thank you Mr e338! It's always good to hear your feedback, a fellow 'slightly restless' spirit in painting, as well as a very talented one! Your thoughts are a great help to knowing if the paintings and what I'm trying to do are communicating as they should. Goshes and wows are always great to get feedback does you much more good! Many thanks.

    dyessense: It's a real compliment to know that the painting caught your eye from the thumbnail, it is the biggest test an image can go through to test if it is worth anything. If it doesn't work from a distance, right off the bat, then forget it. Many thanks for you kind encouragement!

    --------

    'Launch' is an idea where I wanted to try and make a metaphorical equivalent to the Saturn V take-off 40 years ago. Not only is she watching a rocket ascending but she is the rocket ascending. Her shape, the stabability of her feet, strength of legs, movement into the torso and the acceleration into the movement of her gesture which then takes us into the blue beyond - all equivalents of the various stages of movement undergone by launch, but represented by something quite still.........

    'Orangerie' tries to get those fantasies in the 'head' pictures into a more complex arrangement of two figures. Struggling to make a finalised, complete, solid statement that remains 'open' at the same time.

    I'm interested to know how much I'm succeeding with this, how much of this is getting over, so to speak. Thanks for dropping by anyway.

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    Last edited by Chris Bennett; July 26th, 2009 at 07:49 AM.
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  7. #94
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    truly unique stuff. love it. the way you think of space is mesmerising, interesting to see the process as much as the final

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  9. #95
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    Smarty: Many thanks, interesting that you pick up on the handling of space - I guess the progress shots make my thinking about this mch more manifest.

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  10. #96
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    OmenSpirits is offline Commercial-Illustrator in-training, NOT an artist. Level 13 Gladiator: Retiarius
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    Love the textures on the dresses in Orangerie.

    If don't mind me prying but, what does one of your works go for?



    "Everything must serve the idea. The means used to convey the idea should be the simplest and clear. Just what is required. No extra images. To me this is a universal principle of art. Saying as much as possible with a minimum of means."
    -John Huston, Director
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  12. #97
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    I can see most of what you said in your description of "Launch", but I don't feel the acceleration.. The gesture of the shoulders and the hanging arm aren't dynamic enough, it's almost as if she has just awoken, her backs kind of hunched and the arm seems heavy.

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  14. #98
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    Great stuff! I really love head 1 and play of theme in Tart, pastry vs. girl in shortish dress. I don't know if that was intended but it comes across well for me that way. head 1, something about the way the nose scoops and the pouty lips and the frillies in the hair; great stuff man!

    In search of the mythical art job!

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    This is great, but i don't know why, this paintings looks boring in my eyes, maybe because of colors you use.

    I still just a Juvenille Delinquent...
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    I love the Orangerie painting. The way you broke up the shapes of the dresses and continued it out into the surrounding space is really nice. I wouldn't mind hanging this on my wall.

    I agree with armando on Launch re: the shoulder. I think dropping her shoulder into a more relaxed and sloping line would help a lot. It just seems too boxed up and squarish, breaking the upward movement. I would also love to see a slight curve in the gesture of the figure. The legs can stay solid, but a slight curve backwards would add some movement, I think.

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  20. #101
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    OmenSpirits: Thanks Omen. At the moment the paintings are priced by size; thus a painting like 'Blackbirds' which is 70cm x 54cm would sell for 2,500 - I'm not sure what that is in dollars though. However, I'm seriously thinking of pricing them in terms of quality and whether I want to let them go - My next exhibition in August may mean that I practiaclly double that price for this painting......

    armando: Thanks for your take on this Armando. I've really got the first moments of the launch of the saturn V in mind where we see the huge rocket slowly rising surrounded by the falling flakes of frozen CO2 and the thrusters gimbling slightly from side to side as they try to steady the heaving form into the air. For me it is a slow, magestic, gradual acceleration of immense weight. You mentioned a sense of awakening, well, that's how I see the event; as if a leviathan were waking from slumber and slowly rising from its launch tower cradle - not a whoooshing firework for me!

    WyckdNick: Thanks Nick. Yes, the 'Tart' picture is intended to be fun - or more accurately; seriously flippant! 'Head 1' tries to combine hard, dense structure with frills and a sense of feminine softness - kind of what the 'Tart' picture was doing but less overt. Anyway, thanks for the feedback and encouragement!

    Kahvenon: Many thanks. But are you talking about 'Tart' or the latest two paintings?

    emily g: Thanks Emily, its always lovely to hear from you. Regarding wanting to hang pictures one's walls, I've had that feeling about many of your works I've seen!
    Regarding your thoughts on the forms of 'Launch', although, as I mentioned above to Armando, I see the event as a slow, steady and majestic rising of something that is powerful and heavy, I kind of agree with you regarding the 'blockiness' of forms in a general way. I feel I am making my inner sense of stucture too overt and think that it should be more hidden. The discoveries I have made with many of these paintings has underlined the supremecy of shape in the making of images, but I am beginning to understand that this ought to be much more sublimated into the making process. It has become a bit too much like wearing one's heart on one's sleeve and thus at the expense of lyricism.
    I'm working right now on putting this right by incorporating these discoveries back into the earlier painting's sensuous world. I'll post them on this thread once they are done so that you can see the effect.
    Anyway, thanks again for your thoughtful feedback.

    Last edited by Chris Bennett; August 1st, 2009 at 11:07 AM.
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  21. #102
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    Really nice strokes and textures. Thanks for sharing.

    "I watch everything I hate I love everything"
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  23. #103
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    steak-tron: Many thanks steak-tron.

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  24. #104
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    Wow, I didn't know this thread... wonderful, I really love it I really like All in a summer day (reminds me of Gil Elvgren), and Make Up (Really love this kind of moments captured)

    That said, after reading post #93 I'd say that Orangerie really fulfills the original idea in terms of composition, but I think that the girls gesture of Launch doesn't transmit me the intensity of a spacecraft launching.

    Thanks for sharing your work

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  26. #105
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    Quike Garcia: Thanks Quike for your feedback on this - love being put in the same company as Gil Elvgren!

    Here is a reasonably new painting off the block - I've also posted it at the top of this thread.

    'Dual' 70cm x 45cm acrylic on gesso board.

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    Last edited by Chris Bennett; June 16th, 2011 at 05:05 AM.
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  28. #106
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    Gorgeous work, Chris. Dual looks great, and I absolutely love Orangerie!

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  30. #107
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    the composition, the brushstrokes... the energy.....
    Dual seems like a beautiful powerhouse...
    another home run Mr. Bennett

    Much love from this from all the way from India

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  32. #108
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    Hey Chris!

    I am back in your thread, and what a treat it is!

    Orangerie is brilliant, I really love the airy feel you achieved, you really gave it a sense of open-endedness even though you used confident strokes and shapes. Being able to master that is way beyond me, I could never create something like that.

    Dual is beautiful, the colour choices are brilliant of course. I know its a faux pas to criticize masters in their thread, but I feel like you lost me a bit on the red woman's pose. The way her back is arched and her stomach is pointing out remind's me of baby's postures, which is fine, but the head doesn't follow that arch and instead comes back in the opposite direction. To me that creates a broken flow. I also feel like her arm might be too long.

    But I am just a marketing student, and everybody knows the poses in my paintings are a joke, so I don't know if what I'm seeing has merit.

    Here is what I meant to be clear. Hope you don't mind:


    EDIT: I just realized this isn't the same thread as you had before and that all these paintings are new to me. What a pleasent surprise. So I spent time looking at all of them and I found that the ones that impacted me most are "Black birds" and "All on a Summer's Day". Black birds has an intense sense of rush. Summer's day has...hmm. It is hard to say why I love something sometimes. I guess I am not clever enough to know how your painting tapped into my mind. Maybe that is what mastery is all about afterall? I suspect that there is an emotion to the color red. Humans always seem to be impacted by it. But it is also the gracefull fall, and the disorder of the otherwise neat tartalettes... It is hard to say. When I'm older I will come to understand.

    Last edited by Pavel Sokov; June 12th, 2011 at 07:29 PM.
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  34. #109
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    If robogabo did traditional fine art paintings it would look like this haha.

    this is great stuff man! i want to see more!

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  36. #110
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    Sidharth Chaturvedi: Many thanks Sidharth (great name by the way!)

    bhanu: Ah, my friend from India, much love in return for your continued support.

    Pavel Sokov:Thanks Pavel for your enthusiastic feedback. Your rejigging of Duel to explain what you mean by your difficulty believing in the red girl's pose was most helpful... However, it shows me why the girl's head was in the attitude it was in the first place. Your adjustment (which you have done very well by-the-way) throws the image as a whole quite literally out of balance. It feels as if the thing is tipping over to the left and causing the eye to favour the red girl as well.
    The point of the painting is that they are evenly matched yet in some kind of balanced tension. They're both protagonists pulling in different directions united by their desire to win - expressed by the metaphor of the flowering tree behind them and form part of.

    Aryeh: Thanks very much Aryeh. I checked out Robogabo... I can see what you mean!

    Last edited by Chris Bennett; June 14th, 2011 at 09:03 AM.
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  37. #111
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    Like the new piece, Chris!
    Great stuff, as always.
    www.pjartworks.com

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  39. #112
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    patrick j jones: Thanks Patrick - always good to get your feedback.

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  40. #113
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    This is beautiful! Love the concept, composition, colors and poses!

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  42. #114
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    I really like them it reminds me of fauvism for some reason?

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    Quote Originally Posted by Chris Bennett View Post

    Pavel Sokov:Thanks Pavel for your enthusiastic feedback. Your rejigging of Duel to explain what you mean by your difficulty believing in the red girl's pose was most helpful... However, it shows me why the girl's head was in the attitude it was in the first place. Your adjustment (which you have done very well by-the-way) throws the image as a whole quite literally out of balance. It feels as if the thing is tipping over to the left and causing the eye to favour the red girl as well.
    The point of the painting is that they are evenly matched yet in some kind of balanced tension. They're both protagonists pulling in different directions united by their desire to win - expressed by the metaphor of the flowering tree behind them and form part of.
    Hey Chris! I went back and had a look again at Dual and my take on it, and you are absolutely right, the pose lost the attitude. The reason why I faulted is because I was thinking of the form and flow of only the girl in red. Since her backw as arched I wanted to continue the line with her head. But once I remember that she is part of a bigger picture, and considering the shape of the other girl, my adjustments really does break down the composition. I learned from that! Sorry about critiquing your pose earlier, I am young and dull. But to my credit, I wasn't too confident about my critique haha.

    Lets see more work Mr Bennet!

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  46. #116
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    Thanks for posting all the work, loved the evolution in the step by step.
    Unique style, really appreciate the use of shape, contrast of large/small masses of color.
    Being new to these forums, it's great to enjoy so much talent out there.

    5 stars from me.
    -M

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  48. #117
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    emily g: Thanks Emily. It's always good to have your input. By-the-way, I haven't seen any work from you in these parts recently. Have you finished with the wonderful Mr Whittaker?

    williams73: I don't usually think of myself as a 'wild beast', but I'm glad you like them Mr Williams!

    Pavel Sokov: That's very good of you to think so carefully about my take on it Pavel. I'm very glad you got something positive from the exchange. Like I said, I found your repaint very interesting - even if it was for 'negative' reasons! Your feedback is always welcome.

    Mike L: Thanks for the encouragement and thanks also for the stars Mike. Welcome to the forums as well - it's a wonderful place this and full of interesting characters; fun, serious, witty, bonkers, mad, smart and most important of all, lovable.

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  49. #118
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    You are sooo creative with your form. Your art is absolutely beautiful, Chris.

    BLAHBLAHBLAH
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    Thanks, Chris. I'm still working with Bill Whitaker at his studio, which is lovely.
    It's true I haven't posted much art recently. I've been holding back on posting my most recent pieces because they are being published in a group art book and I wanted buyers to have the surprise of seeing new art.
    But I suppose I can post them after the book's been out awhile.

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  51. #120
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    New painting, the first one worth showing after painting a string of work that's ended up in the bin.

    'Red Queen' 45cm x 35cm acrylic on gesso panel.

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