Benavente Solis

NO TITLE

198555

95- FRIENDS 120 x 120 cm. original acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company ...

21 Couple with Cats 115 x 90 cm-96. acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company...

95- FRIENDS 120 x 120 cm. original acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company La Cosa de las Peliculas: He has directed commercials for the best national and international brands, specializing in animation with live image. He has shot with almost all animated mascots of the different brands in the market. He was the first director in Spain who directed such popular characters as Quicky (Nestle) and Smacks (Kellogg’s), as well as other commercials with animation for Danonino, Raid, Pescanova, Yoco, Tony the Tiger...

43 Happy Birthday 200x50 cm original acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production compa...

23.-Woman over green 100 x 130 cm acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company ...

25.-Family in blue 200 x 150 cm acrylic painting Born in Badalona (Barcelona). Photographer and advertising film director. Founding partner of the advertising production company La Cosa de las Peliculas: He has directed commercials for the best national and international brands, specializing in animation with live image. He has shot with almost all animated mascots of the different brands in the market. He was the first director in Spain who directed such popular characters as Quicky (Nestle) and Smacks (Kellogg’s), as well as other commercials with animation for Danonino, Raid, Pescanova, Yoco, Tony the Tiger...

Artist's Statement: "This painting originally looked different, and though it had 22 saves on it and looked sure to sell there was just something that bothered me about it. So I rep...

'Harbour Life' by Gen Paul. Abstract figurative landscape of a Paris harbour scene with boats, figures and horses. An extremely detailed work by Paul that would make the most amazing...

Since the 1940s, the Egyptian painter Hamed Abdalla is not only a visionary pioneer of modern art for the global south and Arab countries; he is also one of the first of his generation to envision painting as political art and activism. The current display focuses on a specific time of defeat and disillusion for a whole generation of Arab artists and intellectuals, in the aftermath of the “Six Days War” led by Israel and their allies (a war title which a lot of Arab activists consider propagandist, preferring to call it “The Defeat of 1967” or simply the “June 1967 War”). This persistent ideological wound became the symbol of failed dreams for the “Arab Nation” or Arab states alliances – including the short but emblematic Egyptian-Syrian achievement of the United Arab Republic. Another major failure, to which Abdalla will respond through the paintings on display here, is the Egyptian President Anwar Sadat program of “opening up” (Infitah) the Egyptian economy and give way to political compromise with the US and Israel – Abdalla assimilating this period to a vast state of Coma for all Arab people and territories. In a collective statement by a group of Egyptian artists exiled in Paris (including Abdalla), published in the Egyptian local journal Al-Dustur, on 5 December 1977, one can read: “This disaster is far greater than the defeat of June 1967. Rather, it approaches the scale of the disaster that took place in 1948 (…) To destroy the Arab people’s noble three decades-long struggle against imperialism and Zionism (…) Sadat is exploiting the stifling economic crisis that Egypt is currently facing (…) We must resist this betrayal of our nation or be crushed under the wheels of global imperialism for generations to come.” The works presented here reflect Abdalla’s transformation of the Hurrufiyyah aesthetics, to achieve his own way of “Arab Letterism”. It claims for a deeply experimental, non-decorative, politically committed and non-commercial use of the Arabic letter...

Sea. 1968. Paper, gouache, 86x60 cm

Early work was impressionistic and hard abstract. Carola later developed a more mature way of working in a colourful exploration of the subject. Colour was her main interest and she...

Intricate and lively work Watercolour, Acrylic paint and Ink. On paper framed