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Painting, Acrylic on Wood
Size: 48 W x 60 H x 3 D in
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$30,850
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416 Views
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ABOUT THE ARTWORK
There have seldom been races which have been held under such atrocious conditions that they remained in the imagination of many. Such one was the 1968 Grand Prix of Germany on the 14.2 mile long Nurburgring. With its 1000 feet of elevation change and 160 bends, Jackie Stewart nicknamed it, "The Green Hell" Driving rains and thick fog caused havoc with the cars and timing recording equipment, and the track's undulations and high trees exacerbated the conditions, preventing the track from drying out. It was no wonder that the organizers began to panic and moved various practice sessions, causing headaches for all the teams who had enough work on their hands trying to get their cars to work and to nurse the soaked electrics. Under conditions which would have delayed or cancelled modern day races, the starting flag dropped ten seconds early when only half the waiting field was fully prepared. Many stretches of the track were so treacherous and veiled in thick fog, that there had been an overtaking maneuver between two cars which had gone unnoticed by both drivers. Despite the atrocious conditions, there were no accidents. While the many drivers grumbled afterwards that the race should never have started, one of them who remained stoically quiet was the 23 year old Ferrari driver, Jacky Ickx. With his car down on power and his bubble visor fogging up, he finished the race in 4th place - in just under 2 1/2 hours - and about 5 minutes behind the winner Jackie Stewart. It was there that Ickx would earn his title, "Rain master". The Nurburgring was completed in 1927, using much of the hilly and densely wooded landscape. As a result, there were at least three places where the cars became airborne - not something the fragile three-liter cars were designed to do - not even in 1968. I decided to show the 312 Ferrari in mid-jump making it seem as if both the car and driver are in their natural environment. With the car's wheels fully dropped, the maximum suspension load would be endured as the cars fell back on the merciless track half a second later. Over the years, the 14 rounds took their toll on many cars. This August 4th, 2018 - it will be exactly 50 years ago that this race took place.
DETAILS AND DIMENSIONS
Painting:
Acrylic on Wood
Original:
One-of-a-kind Artwork
Size:
48 W x 60 H x 3 D in
Frame:
Not Framed
Ready to Hang:
Not applicable
Packaging:
Ships in a Crate
SHIPPING AND RETURNS
Delivery Time:
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:
Ships in a wooden crate for additional protection of heavy or oversized artworks. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:
United States.
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Arthur Benjamins
United States
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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