'Thomas Hart Benton: Mechanics of Form' Brings Together Key Works by the Famed Regionalist at The Surovek Gallery

Thomas Hart Benson, “The Processional”, 1944, Tempera on paper, 22 x 30 inches.
Thomas Hart Benson, “The Processional”, 1944, Tempera on paper, 22 x 30 inches.
(image: Surovek Gallery)
  • Thomas Hart Benton, “Youth Music - Study”, 1973.  Oil on board, 14 ¼ x 17 ¾ inches.

    Thomas Hart Benton, “Youth Music - Study”, 1973. Oil on board, 14 ¼ x 17 ¾ inches.

    image: Surovek Gallery

  • Thomas Hart Benton, “Sea Phantasy I”, 1925-26.  Oil on metal, 63 x 47 inches.

    Thomas Hart Benton, “Sea Phantasy I”, 1925-26. Oil on metal, 63 x 47 inches.

    image: Surovek Gallery

The Surovek Gallery in Palm Beach, Florida, is presenting a new exhibition of around 65 works by Thomas Hart Benton (1889-1975), the famed Regionalist painter known for chronicling the beauty, joys and sorrows of everyday life in America. On view from February 7 to March 15, 2019, "Thomas Hart Benton: Mechanics of Form," the second presentation of Benton's art at the gallery, includes works in oil, watercolor, and other media.

Seminal works by Benton are on loan from private collections, along with the Thomas Hart Benton Trust, and a large selection is offered for sale. Highlights that span the artist's oeuvre include: Fisherman’s Camp, Buffalo River”, 1968; “Sea Phantasy I”, 1925-26; “Loading Hay” and The Processional”, 1944.

"Thomas Hart Benton: Mechanics of Form started as a discussion between two fine art dealers obsessed with Benton and it blossomed into a collaboration that includes over seventy Benton works coming from private collections across the country," says Clay Surovek.

Surovek worked with Andrew and Kate Thompson of Lester Thompson Fine Art, NY, on the exhibition. "Both Andrew and I have been immersed in the work and study of Thomas Hart Benton for many years and we shared a vision to present Benton’s work in a new light. In assembling a diverse group of rarely seen paintings, the exhibition highlights the significance of his early Modern works and illuminates Benton’s entire career and his important place within 20th century American art," Surovek explains.

Surovek says the gallery had "the support of Jessie Benton and the rest of the Benton family," along with the Thomas Hart and Rita Benton Trust, "who have generously included a large group of early works that serve as the foundation of this exhibition."

Dr. Henry Adams, the Benton expert, helped in organizing the show and wrote a catalogue essay.

Surovek also credits his father, John Surovek, for introducing him "to one of the greatest American artists of the 20th Century. His stories of meeting Tom and enthusiastic passion inspired my great appreciation."

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