London, GB
Details
- Dimensions
- 24.02ʺW × 0.39ʺD × 18.11ʺH
- Styles
- Modern
- Art Subjects
- Figure
- Period
- 1970s
- Country of Origin
- United Kingdom
- Item Type
- Vintage, Antique or Pre-owned
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- Condition
- Good Condition, Unknown, Some Imperfections
- Color
- Pink
- Condition Notes
- Patina Consistent with Age and Use Patina Consistent with Age and Use less
- Description
-
Vincent Bennett
(1910 – 1993 Plymouth)
“Waiting to go out”, c.1970
Oil on canvas board
Labelled, titled and proxy signed … more Vincent Bennett
(1910 – 1993 Plymouth)
“Waiting to go out”, c.1970
Oil on canvas board
Labelled, titled and proxy signed verso
460 × 610 mm | 18 × 24 in
Unframed
A tender scene, brilliantly realised with bravura first-touch brushstrokes. The colours are light, fresh and vibrant, making this one of renowned visionary artist Bennett’s finest pictures.
Characteristically signed on the reverse by the artist’s wife Mary on his behalf. (Vincent rarely signed his work, just as he almost never exhibited or sold a picture during his lifetime).
Vincent Bennett trained at Plymouth School of Art in the 1920s alongside Cecil Collins, and moved to London in 1930 where he worked as a scenery painter, supplementing his income with drawings published in magazines, and occasional boxing matches(!) In 1932 he returned to Plymouth and established himself as a jazz drummer, appearing regularly at local venues with various groups. He also began painting murals around the city. In 1945 he married Mary Hemingway who actively encouraged and facilitated his artistic career.
Their son Jonathan was born in 1950, by which time Bennett had settled to a more conventional career as an art teacher. He maintained he learnt more from the children than they did from him. He retired in 1975, happily devoting himself full time to painting until ill health intervened. A muted palette and naturalistic forms dominate his early easel painting. Later, as the techniques he used as a scenic painter encroached upon the academic concerns of his formal training, his own very distinctive style emerged, often involving a highly textured surface rendered in vivid hues that reflected his eclectic mix of influences, from Byzantine art to silent cinema. Whether he tackled grand narratives or studies of pub locals, his work is always charged with a dry wit. This piece has an attribution mark,
I am sure that it is completely authentic and take full responsibility for any authenticity
issues arising from misattribution less
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