The Benini Galleries
 & Sculpture Ranch
377 Shiloh Road
Johnson City, Texas USA 78636

830-868-5244 Studios Building
830-868-5224 Studios Building



PAINTINGS of the 80's

The paintings are listed by category below. To view each category, simply click on the image.
Please wait while corresponding pages load.









Painting - Study in Black and Green


click to enlarge

click to enlarge

click to enlarge

click to enlarge

click to enlarge

click to enlarge


In 1977, after 14 years in the Bahamas, Benini officially emigrated to the United States, entering the country at the West Palm Beach airport, in a leased cargo plane carrying his earlier paintings, his 7,000 books and the works of other artists he had collected through the years.

Evinston, Florida is a sleepy little village south of Gainesville, Florida, with an historic post office and several homes flanking the now-silent railroad tracks. It was Benini’s destination upon entering America. 

On a previous visit,  he had purchased a 1870’s Victorian two-story home. Within weeks,  the living room was transformed into a large comfortable studio where he resumed work. It was in this studio, that the first shaped Superroses were painted.

Benini searched for materials and methods to free the designs from traditional square-cornered compositions, all the while painting ever-larger depictions of the rose in stylized, separated hues of the same color. Despite the at-first cumbersome framing apparatus, this was Benini’s most striking work to-date.
Shown regularly in New York as well as in universities and   minor museum institutions in the United States and Europe, this work received some recognition in critical circles and support from a number of international collectors. 

In addition to the originals rendered in acrylics, Benini occasionally completed watercolor studies of the roses.

In 1979, Lorraine,  then working on a Master’s degree in Journalism and Communications  at the University of Florida, and writing for the Gainesville Sun,  interviewed Benini about his first exhibition in Florida.  Today, married to Benini, she manages administrative aspects of his career.

After a cold Gainesville winter, Benini and Lorraine bought a small house on the southern shore of Lake Harney, part of the St. John’s River system, 20 miles northeast of Orlando. A studio was built on the property and in that semi-tropical environment,  Benini continued to develop ever-larger shaped roses alternated with  traditional-format paintings of a nature directly related to his dream experiences (lucid dreaming), as well as landscapes from his frequent journeys across America.  With a prevalence of blues and grays and white, Benini  created smooth, background stages upon which the various characters and symbols, acted their silent plays.  Works like “Pas de Rose” and “The Wish” typify the output of this period.  At this time, Benini’s primary technique evolved by replacing hard-edge lines with  smooth blending of the pigments that dramatically changed the appearance of the work.

Meanwhile, the roses continued to grow on the canvases, reaching sizes up to 35 feet. Three of these paintings,  hung like vertical banners in the Landmark Building seven-story atrium  in Orlando in 1985,  to celebrate the 110th birthday of the City of Orlando. This exhibition, commemorated in a poster, also marked the occasion of Benini receiving the key to the City of Orlando by then-Mayor Bill Fredericks.

As a farewell to the rose, a symbol that had occupied his work for more than 20 years, Benini, in 1986, accepted an invitation from Harold Goldstein, then-president of the American Rose Society, to create a symbolic painting to commemorate the official declaration by President Reagan of the rose as the official national flower of America. In the same year, Benini became an American Citizen.

The final Benini painting featuring the rose, was L'Ultima Rosa. It was completed in 1987, the year Benini became an American citizen and the year the rose became our national flower. During the Clinton Administration, the painting hung in the White House, having been acquired by Virginia Kelley as a Christmas present for her son, President Bill Clinton.

Also in 1986, Benini had a meeting with Robert Monroe, author of Journeys Out of the Body. Soon after Playboy magazine published  in-depth article on Monroe’s research, Benini and Monroe agreed to meet in person.
Benini was about to embark on a cross-country journey, culminating in his exhibition at the University of Nevada-Medical Sciences, and agreed to come to the Monroe Institute of Applied Sciences in the Blue Ridge Mountains, a center devoted  to accelerated learning through expanded forms of consciousness.

Benini had read Robert Monroe’s Journey’s Out of the Body in the early 1970’s. During this meeting, however, Monroe updated Benini on his latest Hemi-synch research methodologies involving a revolutionary sound wave process to synchronize both halves of the brain with dramatic effects on consciousness.

In the afternoon, Monroe “processed” Benini in a sound-controlled chamber. In this quiet environment, Benini fell asleep and woke up an hour later totally refreshed, and after another meeting, bid Robert Monroe farewell. 

During the following weeks of travel, Benini reported nothing out of the ordinary. 
However, upon returning to his studio, he could not bring himself to complete the rose he had started that remained on the easel. Instead, he felt compelled to use the 120-degree angle to design a green cube painted on a graduated blue to white background.  This became Benini’s first geometry-based painting.

Excited by the visuals and dimensionality of the painting, Benini decided to render the cube on  canvas stretched on  laminated Masonite cut to the outline of the cube. He then applied brackets to the back of the shaped canvas. The resultant shadow reinforced the illusion of tri-dimensionality of the image.

Benini, always an avid reader, turned to his library to fuel this new technique. He returned to the works  of Plato and Pythagoras, as well as the perspective studies of the Italian Renaissance. Methodically, the work grew from a rendering of simple solids in space to the work that came to full evolution in the 90’s.