A monotype currently being revisited. Something about this makes me think of, remember fondly, my experiences in Turkey. I can’t tell you why.
WIP: Konja, 2003-2011, oil paint over oil based monotype on paper, 24″ x 18″
Leafing through the archives of not-quite successful prints, I came across a good candidate. I didn’t document it in its original stage, as I haven’t really done for most of the pieces in this series, but suppose I should. I will, however, search for a slide of it, which I am almost positive I have catalogued somewhere in the cave I call my studio.
I’m not isolating the printmaking paper with hide glue or gesso or anything. It should last at least until a meteor hits the earth, destroying civilization as we know it.
Hedwigs’s Spread Spectrum, oil over monotype on paper, 20″ x 16″
Silvermine Art Center in New Canaan, CT is organizing a fundraising event it has hosted for 10 years now, Signed, Sealed and Delivered. It’s an art sale and auction designed for collectors and art lovers featuring over 500 small, 4″ x 6″ original works in all media for sale at $50 each, to benefit the Center’s programs and outreach.
I’m contributing these 3 tiny paintings, all oil over monotype on Rives BFK printmaking paper. I rarely, if ever, paint this small with oil and I find it to be a disciplined exercise in control and direct manipulation of materials and form. Hellzalotta of fun.
Tom
SSD 1, oil on monotype on paper, 6″ x 4″
SSD 2, oil on monotype on paper, 6″ x 4″
SSD 3, oil on monotype on paper, 4″ x 6″
I’m continuing the exercise of painting over monotypes and I’m just exploring the application and reaction of the oil on printmaking paper. The paper is a medium to heavy weight Stonehenge brand and absorbs the oil paint and turps relatively quickly; the opposite of the method used in making the monotypes, since with the monos its about oil based paint and ink applied to plexiglass: no tooth nor absorption but simply a resistant glassy surface that the paint glides over. With painting directly on the paper, its about discovering the various lengths of time different paint films and colors tack up and how they interact with paint layers placed over them. I’m allowing and developing loose abstracted form with these early stages. Technically these could be called either paintings or monotypes, but you can call them anything you want. If it’s a four-letter word, I don’t really need to know about it.
Pigeon is old slang for a young woman, back when men were men and misogynist was a 10-letter word.
T.B.
Old Ruling Class Revise, oil on monotype on paper, 20″ x 16″
The original monotype:
there are many formal aspects of the print that I really like and have been changed and obliterated. Ah well. You must destroy to create to destroy again.
I’m in Cape Cod this week and kind of stuck without proper art-making materials as I work fixing up a beach shack. I’m lying here while a chicken is cooking in the kitchen and the smells waft into my flared nostrils. I’m hungry and you’ll just have to deal with this older monotype from the pompously named “archives”.
Tastes Like Chicken (formally titled Untitled Figure #2), monotype, 14″ x 9″
Another reworked monotype. I was thinking about Frank Auerbach, the great british figurative expressionist. He’s one of the painters floating in the back of my head; his aggressive paint-slathering is of such a unique character it has hammered itself there into my sub-brain. My application isn’t mimicking his nor is it close, it’s the attitude he has with working and reworking this viscous medium until it practically destroys the surface and has to be scrapped down and rebuilt all over again. I’m having a great deal of fun exploring and tripping along with these old prints I made back at Robert Blackburn’s Printmaking workshop in Manhattan.
A Nod to Frank, 1993-2011, oil paint on monotype on paper, 24″ x18″
I’m continuing to take old and not particularly successful monotypes and reworking them with oil paint. It’s not quite working here perhaps because I haven’t resolved the relationship of the figure and its treatment with the breaking up of the picture plane. The shapes are not jiving, but I do like the figure.
Extended right, oil paint on monotype on paper, 1992-2011
One of the many themes I’ve worked on over the years is the male figure; in particular the male back, often inspired by classical painting and sculpture. I find The heightened muscular forms and volumes of figures created by renaissance and baroque artists like Michelangelo, Bandinelli and Caravaggio great subjects for abstraction and distortion. Many of the details of figures from antiquity, when looked at with an open perspective create vast conceptual worlds of abstracted landscape and space.
Here I’m making loose color studies as an exploration for larger finished pieces. Its an exercise in balancing control and accident on the way to discovering expressive formal, emotive and metaphysical paths. I’ve included an older oil painting I created years ago in Spain as one of the first forays into this area. It was based on sketches and watercolors I had done from a sculpture of Neptune in the Piazza Signoria in Florence.
Herc, mixed media on paper, 12″ x 9″
Signoria, mixed media, 12″ x 9″
Barcelona Neptune, 1986, oil on canvas, 48″ x 36″
Late the other night while I was half asleep I was slogging through my dungeon studio making monotypes. I pulled the final one which I decided had some interesting passages. A few days later I realized it was only salvageable by working back into it with more materials. I painted into this with more oil paint and varnish medium as well as various paint sticks of different viscosities. It’s not working completely; I’ll look at it again later in the week. She’s someone to take home to mom, huh?
The torpid stare is how I felt the other night in the dank sweltering basement, so maybe it has some validity after all.

Insomnia, oil on Stonehenge paper, 20″ x16″

detail
I’m spending a week care-taking my parents. My father Harry painted through memorial day weekend.
Harry was a reconnaissance officer in the south pacific throughout World War 2. Rarely talks about it nor his bronze star medal for bravery. He is a very special man.




His painting above. oil on board, 16″ x 20″ He may still want to tweak it a little. I think he should call it Memorial Day.

Mom and Dad.
I realized how much I miss talking painting with him and his thoughtful insight. He took a look at a painting I started months ago and gave me some valuable input on design and rhythm.
This is it:
To be clear, if one is making a monotype from life, working from a an inanimate subject like a still life doesn’t pose many problems. working from a live landscape is more challenging in that one requires a press(if one is using a press) to be nearby, and working from the live model is only problematic if the model becomes uncomfortable since the process can be a stop and start, dragged out thing. The monotypes below were made from life “once removed”, in that I drew the model in a sketchbook first and then created the monos from the drawings.
Tom Bennett
Rex and Rabbit 1, monotype, 16″ x20″
Rex and Rabbit 2, monotype, 16″ x 20″
Work in progress, another in the series “Old Ruling Class”.
The support is a cradled masonite board treated with a white clay ground, which produces a nice balanced surface that is both a resist and absorbing platform which allows me to do reductive mark-making with tools such as a razor blade, which is a technique my father, Harry, used to great effect in a number of projects such as his Divine Comedy series.
Harry celebrates his 92nd birthday this weekend. Happy Birthday, Dad!
Old ruling Class 5, wip
oil on board, 24″ x18″