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Tom BennettProsaic, female frontal nude oil painting lively brushwork, earth tones2025
2025
$1,500
£1,143.33
€1,318.71
CA$2,130.45
A$2,289.39
CHF 1,228.39
MX$26,967.63
NOK 15,445.66
SEK 14,109.51
DKK 9,855.50
About the Item
This oil painting presents a powerful exploration of the fragmented human form and the emotive potential of abstraction. The figure, rendered in a dynamic fusion of expressive brushwork and gestural mark-making, occupies the space with a corporeal presence that feels both immediate and elusive. Earthy, muted color pallette, contrasted by sudden bursts of white and red.
The treatment of the body dissolves the boundaries between figuration and abstraction, as anatomical clarity gives way to painterly ambiguity. The fragmented handling of form evokes the existential vulnerability of the subject, inviting reflection on identity and the instability of perception.
The composistion bears the traces of process and revision-- visible layering and impasto revealing the artist's engaement with the surface as both a physical and psychological space.
Conceptually, the painting speaks to the tension between revelation and concealment -- between the human desire for self expression and the inevitable disintegration of form through the act of painting itself. The work becomes a meditation on presence, fragmentation and the expressive possibilities of the figure as both subject and vessel for deeper emotive truths.
- Creator:
- Creation Year:2025
- Dimensions:Height: 24 in (60.96 cm)Width: 18 in (45.72 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Brooklyn, NY
- Reference Number:1stDibs: LU1339117260322
Tom Bennett
With quick brushstrokes, Tom Bennett creates representational images of human figures and animals, emphasizing movement in a manner reminiscent of Lucien Freud, Edgar Degas and the photographer Eadweard Muybridge. Elongated and blurry, the horse racing up a hill (Canter Fritz, 2002) and the sinister cat landing a leap (Chien Blanc, 1998) elicit a sense of foreboding enhanced by Bennett’s somber palette; his female figures too reflect a grim sense of humor with their distorted nude bodies. The face of Untitled Figure (1997), for example, is obscured by layers of dark paint. Classically trained as a painter, he initially worked in oil on canvas but discovered that monotype printing enabled him to “literally push the image around,” creating an essential element of motion. To overcome the limited scale of monotypes, however, he switched to painting on slick-surfaced plastic. Tom Bennett’s practice is rooted in the classical tradition where painting and drawing from life is highly regarded. Bennett’s work is heavily influenced by Francis Bacon, Frank Auberbauch and foremost his father, Harry Bennett, who was also an artist. Tom’s time living abroad in Spain and traveling through Eastern Europe and Africa provided the artistic freedom to explore many of the techniques and subject matter that continue to define his practice. Bennett was born and raised in Connecticut. His mediums include monotypes, oil on paper, canvas or styrene board. In a technique that Tom started over 4 years ago, several of his monotypes have been painted over with oil paint using a palette knife, brush, or his fingers to re-purpose the underlying image. These works are a testament to Bennett’s ability to quickly and concisely compose an image with expressive brush strokes, foreshortened figures and expertly rendered light. Tom’s work has been featured in group and solo exhibitions worldwide. Bennett lives and works in Brooklyn, New York. He is currently represented by Tabla Rasa Gallery.
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