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These recent paintings include the Framed Series, the Mid-Seasons series, the Musical Notes series, and others. The 17 paintings of the Face of God series and the Kaos series have their respective pages.
Intermezzo, that special time between seasons...
The origins of the musical system of notation trace back to the Italian Benedictine monk, Guido D’Arezzo (c.995-c.1050).
Before this system, singers had to memorize the entire chant repertoire to pass this on to the next generation. The new system replaced letters with notes, to be added to four parallel lines. Guido introduced the symbols Ut, Re, Mi, Fa, Sol and La as names for the 6 tones C, D, E, F, G and A, the hexachord. Later, “Si” or “Ti” was added., and eventually “Do” replaced Ut.
This tie to his native Italy inspired Benini in 2015 to create this series ~ Musical Notes.
"After 17 Face of God paintings, a break entered the canvas, an opening... unexpected - another journey into the personal unknown – it has become the Meditation series". –Benini
The God I was portraying had nothing to do with religious icons or established beliefs - identities man has created from the beginning of man time. It was more a quest for an abstract essence: universal in spirit. I used color, my lifetime ally, with all its powers and varieties." - Benini
This series reflected the growing fascination of Benini with the newest science: chaos. While related to the pointillists and the work of the abstract expressionists (Pollock, in particular) this technique allowed Benini a free-flowing exploration into the great unknown. A child-like approach to color leads the composition into unexpected effects that become new maps of the unconscious.
Following a trip West and a visit with Robert Monroe in Faber, Virginia, Benini returned to his easel and set aside the roses. He started painting geometric shapes, first simple cubes, spheres and triangles, and then combinations, and eventually he added the lyricism of ribbons. He continued this series until the Courting Kaos work.
Benini's focus on the symbol of the rose culminated in the late 80's with his canvases that followed the contour of the outside petals, giving a free floating effect to the roses.
While roses were a constant theme for 20 years, Benini combined other elements with them in the work of the late 70's and 80's - in particular, ballerinas, eagles, mimes, and birds.
Figurative work, nudes and roses encompassed this decade,with shows of "Women and Roses" being exhibited in New York and Europe, along with his Superposes, roses four feet wide to eight feet wide rendered in one bright color bringing forth the petals and inner heart of the roses on a large scale.
This is the only time Benini painted in oils. He was still in Italy, traveling and painting, and he had yet to discover acrylics.