Painting the ocean with light and color. Daniel places artist Rick in a historical context in this report, thus eloquently linking his work to music and meditation. Check out Bennett’s demo, with detailed steps in his own words, below.
A changing theme
Seascapes in American art history tend to be stormy, romantic, and dramatic. Winslow Homer is undoubtedly the master of this genre, with his waves crashing against the rocks, the wind at sea, the beach serving generation. However, we, the viewers, view the waters from a safe and dry distance. Rick awaits ocean painting quite differently from this regular American model in his beautiful acrylics. Bennett’s seascapes are the yin and yang of images like Caspar David Friedrich’s icy, storm-filled shipwrecks in ancient context. Yet both artists are realist romantics: one represents the dark and brooding classical Nordic romantic sensibilities, the other the life-affirming Mediterranean.
Painter and philosopher
Bennett’s work deals as much with aesthetics and metaphysics as it does with landscape drawing, formalist properties, and the properties of light and color. Each Bennett painting is an intricate act between representation and abstraction, between movement and Zen stillness, between the ocean as a transcendent metaphor for birth and the elemental sensation of sun and water on the skin. Bennett, as an artist, paints the sea as abstract and abstract color harmonies. As a philosopher, he paints the sea as a mystical and mythological place of life.
The puzzles and stories of life are already in the sea. Individual waves live and die, but they are also part of a seemingly eternal continuity and rhythm; everything conforms to simple and repetitive patterns, but there are infinitely complex individual variations.
Tropical colors in motion
Bennett’s paintings are exceptions, as in music, on a theme. While the images vary in size, weight, and detail, each represents the rhythms of energy as part of great harmony, just as Albert considered light, energy, mass, and motion, but believed that everything I was studying represented a unifying principle. Bennett’s oceans are always tropical, almost perfectly still. They always examine how colors approach or recede from each other, particularly with the light on ocean surfaces. How fitting, then, that your medium is water-based acrylic. I changed the oil because the new acrylics and additives give me the look and feel of the oil, along with other texture and layering possibilities. The clean and study environment becomes greener.
Referring to the late Monet
Abstract expressionism lurks in Bennett’s work, as we see in his experiments with horizontal bands of color in shades of blue and teal, pink and lilac. These experiments are true studies of color theory. Some derived from the late Monet, whose later paintings specifically dealt with the dissolution of form. Since Bennett’s paintings start with water or the paper dissolves, he can skip the details of dissolving the record in favor of interpreting light and color in water and as water. Above, at Sand Bar III and Islands 27, St. John, we see these elements working with different horizon lines and similar colors. Bennett’s paintings start from the top and move towards the viewer. Some of Bennett’s finest and most detailed brush strokes occur in the foreground, where the light allows the clarity of the water to reveal patterns of sand and dunes.
Shadows and lights
When the water is clear, there are several variables: changes in the depth of the water that create various shades of color: light reflected from the sky, reflections from sunlight, and refracted light centered on the sand through the prismatic effect the contours of the waves. Using calligraphy brushes, Bennett focuses prominently on his images of these colorful results. A few years ago, my youngest child invented the term lights rather than shadows to describe these wavy patterns of light, and I’ve used the term ever since. In a way, my center, Along with the other variables, is that all these models are regularly changing, and the sand under has its ripples and changes.
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Painting the essence of the ocean
Bennett shifts between scanning through and staring at the water. In theory, he could produce many such paintings since the light changes continuously in the water. Puffs of clouds or bars arrive in the country as grounding things to remind us that they are seascapes, not painted with fields of color. Bennett also studied Japanese securities, Chinese brush painting, and ceramic artists Toshiko and Jun. Like Asian artists past and present, Bennett seeks essences rather than similarities. His mix of Eastward and Westward ideas performs his works transcendentally modern, simple but classic, in short, divine.
A series of divisions
Paintings that have a portion in common with pure abstraction while still conveying a seascape emerge from various sectors. I start by breaking the canvas into parallel bands, doing a chalk line. The process evolves, dividing the space into latitudes: sky, horizon, water, shore. A musician himself, Bennett says he too thinks of paintings in musical terms, where color combinations create dissonance and harmony. Also, he prefers the Caribbean, in tune with the rhythms and cadences that he finds in music. Considering it heavenly, an area of natural color, warm and calm, a kind of spiritual cradle for life, it is a concept to which his paintings seem dedicated.
From tidy to casual
As a painting progresses, Bennett works and reworks the patterns of the waves and dunes below. To avoid making the painting look too mechanical, I create textures and nuances of color by applying crumpled paper to the painting,” he says, introducing randomness between repeated movements and deliberate patterns. His overall process goes back and forth from ordered to random. In the early stages, I do a lot of evaluations and corrections. Still, if I am too organized to complete a painting, I cannot evoke the energy and movement I am looking for. In the final stages, I have to work in a fast and intuitive way. This process can be frustrating, but as the traces of each underlying layer continue to show, the paints become richer and take on the complex surface of a program. The best work is often the hardest fought.
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