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GALLERY: Benjamin Shamback's Still Lifes and Charcoal Drawings

16 Mar 2007 by American Artist

 

In the November 2006 issue of American Artist, still-life artist Benjamin Shamback explained how an energetic underpainting gave life to his carefully refined oil works on metallic surfaces. In this online exclusive gallery, we offer more still-life images as well as three charcoal drawings.

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Apricots
2006, oil on aluminum,
13 x 7. All artwork this gallery collection the artist unless otherwise indicated. 		Glasses on Red 3
2006, oil on aluminum, 18 x 24.
 Lilies
20005, oil on copper, 13 x 10.
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Paper and Seashell
2005, charcoal on mylar, 18 x 24.		 Paper and Seashell
2005, oil on copper, 12 x 12¾.		 Blue Pitcher
2005, oil on copper, 18 x 24. Courtesy Hidell Brooks Gallery, Charlotte, North Carolina.
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Wine Bottles on Red
2006, oil on copper, 18 x 24.		 Bowl on Green 5
2006, oil on copper, 18 x 24.		 Pitcher with Red Block
2006, oil on aluminum, 14 x 11.
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Female Posterior
2005, charcoal, 30 x 20.		 Paper and Tool
2005, charcoal on mylar, 14 x 11.		 Yellow Plate
2005, oil on aluminum, 10 x 8.
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Comments

 
Julie Rizzo wrote
on 21 Sep 2006 6:44 PM
I'm fascinated
Helen Taylor wrote
on 24 Sep 2006 3:26 PM
I am intrigued by his paintings. How does he frame his aluminum/copper paintings?
LMTaylor wrote
on 27 Sep 2006 1:21 AM
I cannot help but noticing how many of the paintings leave the picture plain. Interesting composition style.
V. Kate Heiden wrote
on 27 Sep 2006 9:59 AM
Rare and lovely paintings. They have tremendous life energy and soul. I saved two to my desktop as inspiration, along with DaVinci, Vuillard and Bonnard.
S Hampton wrote
on 29 Sep 2006 11:12 AM
In response to LMTaylor, I question your use of the word plain. If you're implying that the composition is plain, you would be correct, the compositions are balanced, a lot of time centered. But when you don't have to worry about composition you can take more time to worry about color relationships, and the shape of negative space that shapes your objects. Not to mention shadows which achieve depth in an otherwise shallow space.
A. Daniels Riveros wrote
on 12 Sep 2007 2:20 PM
These are some of my favorite paintings that I have seen in a long time. Its hard to use color in such a sensual manner without being brash and vulgar. very inspiring
Frank May wrote
on 8 Jul 2008 12:42 PM
Benjamin - I came across this website while looking up information on Chris Bradley, which brought me to your WA graduation class website. Good Luck with your art - looks GREAT! Take Care ~ Frank May (music @ WA 1989-present)
jade morlaes wrote
on 7 Nov 2008 9:13 AM
What does the artist do to make the paints adhere to the surface?
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