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'' BULLITT ''

VIEW IN MY ROOM

'' BULLITT '' Painting

Arthur Benjamins

United States

Painting, Acrylic on Wood

Size: 40 W x 72 H x 3 D in

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About The Artwork

When the American crime thriller "Bullitt" hit the 1968 cinemas, no one could have imagined that it would end up on the list of "The Best 1000 Movies Ever Made". Surely, the lead role played by the super-cool Steve McQueen as police Lt. Frank Bullitt would almost guarantee a box office success. Not this time, as McQueen would have to admit that the film's most memorable 11 minutes would have to be awarded to cinemas' most famous car chase ever. The logistics of this already complex car chase got itself in as many twists as the movie plot did. Geographically speaking, the paths the chase took could never have unfolded itself in real life. It would have been doubtful if the movie goers - surely on the edge of their seats - would have been cognizant enough to have spotted anomalies like that. On the other hand, the film included many welcome factual accuracies, like police evidence processing to emergency room procedures. If that wasn't good enough, even some of McQueen's clothing caused a boost in popularity - in the same way that "Dirty Harry" would eternalize the Smith & Wesson .44" Magnum. The complexity of the film's car chase shooting became exceptionally evident from the very start. The director's call for speeds not exceeding 75-80 mph, were very soon surpassed with velocities of 110 mph, no doubt all greatly enjoyed by McQueen (who drove in some high speed scenes) - and the stunt men. The nearly five weeks of shooting the chase scenes in various parts of San Francisco, followed by some highly imaginative splicing and editing, resulted in some serious discontinuity that movie buffs from all over the world were quick to spot and record, including unrealistic amounts of flying hubcaps, car damage out of sequence and obvious re-use of the same locations. Regardless, these valid points all seemed to have been fondly swept under the carpet by these usually ruthless armchair critics. What happened to the movie cars? One Dodge Charger and two Mustangs were sold for scrap, one Mustang being bought by a Warner Bros. employee and of which the whereabouts are still rumored, and the other disappeared from view until March 2017, when the VIN numbers of a Mustang wreck in a Mexican junk yard was proven to be the remaining "Bullitt" car. Legendary "Autosport" British photographer, Jeff Bloxham, who lived near me, and who in pre-internet days - assisted me greatly with photographic reference material, was also an excellent critic every time I showed him a new painting. His main critique was that every one of my racing cars - formulae or rally - were always in pristine, showroom condition, which is what they hardly were at the end of a grueling race. This image is the very first in which I portrayed a speeding car with somewhat the worse for wear. Although I deliberately avoided a serious mashed-up appearance, the front of the vehicle denotes that it has gone through one of its first of its many contacts with the other vehicle. To survive the many jumps and heavy landings, the Mustang required modification of its engine, brakes and suspension and it is altogether correct that I have portrayed it in that condition. I have also chosen to follow a 'film poster' image - the fiery explosion seemingly giving McQueen's car additional flight through the air. I shall be happy to answer any questions

Details & Dimensions

Painting:Acrylic on Wood

Original:One-of-a-kind Artwork

Size:40 W x 72 H x 3 D in

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Arthur Benjamins (St) Nbs. Born on June 22nd, 1953 in Rotterdam, Holland.Lived in Rhodesia for 6 years and in the UK for 40.. He has lived in Phoenix, Arizona, USA since 2014. Arthur Benjamins trademark photo-realism took hold in the early 1980s and his highly publicised motor racing, aviation and record breaking originals pioneered a style that has been mimicked by many other painters but never equalled.. At the end of the 20th century, he was ready for a fresh challenge and he turned towards a period of transition that would emerge with the new millennium. Unlike his fellow countryman, Piet Mondrian, who was a revisiting painter and would change a painting once or even several times, Benjamins proceeds to paint continual narratives. Every one of his paintings forms an opinion or a view of the subject that is portrayed. Benjamins states: "Once a sentence has been spoken, than those words cannot be recalled. That opinion, rhetoric or statement as flattering or hurtful as it may be, is set in stone. Every one of my paintings in sequence is a snapshot, a frame of a film or the lyrics of a ballad, which can never be undone" Over the centuries, the many styles of painting culminated in a myriad of genres of which many remained in obscurity but some prospered into modern day vernacular. The 1960s iconic Pop-art icon images from Andy Warhol and Jasper Johns covered a certain range, however, Benjamins work extends beyond those in where colour, composition and textures become part of the discovery processes where the multi-divergence of viewers explanations becomes obvious. He incorporates a far wider range of iconic images of which many are in the process of extending into, or are already well beyond the consideration of ephemera. His Benjaminsarian universe of choice and rendition of icons, the progression and regression of subject matter in two-and-three dimensions are an epicentre, wherein one moment, the raised surface or texture is used as a substrate, the next, as an underscore or shadow. His work encompasses strong, clear images that people can recognise and identify with. It is sharp, precise, strong in colour and surface. There is no evidence of painterly muddiness, no sentimentality, no trace of the painters doubting soul, trembling hand or lack of direction. Benjamins' jaw is set firm.

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