A mesmerizing and organic acrylic on Masonite panel by James Belton Bonsall (1926–1999), titled "Visceral Foliage." This dynamic painting presents a raw, almost anatomical interpretation of nature, where sweeping green hues and intricate vein-like patterns evoke the inner structure of plant life—its veins, capillaries, and pulsing energy. The composition is deeply textural, with fluid, sinewy brushstrokes that suggest the interconnected lifeblood of leaves and vines, mirroring the very circulation of life within nature.

Bonsall’s use of bold greens, layered depth, and rhythmic movement creates an almost biological connection between plant and human anatomy, as if the landscape itself is breathing, expanding, and thriving. His unique blend of expressionism and organic abstraction transforms the foliage into something visceral—alive and pulsing with energy.

The painting is signed in the lower left and framed in a solid oak frame without glass, reinforcing its earthy, organic theme. A striking piece that speaks to the intrinsic connection between nature’s growth and the unseen forces that sustain it.

Artist Biography: James Belton Bonsall (1926–1999)

James Belton Bonsall was a Louisiana-born painter best known for his evocative depictions of the state’s landscapes, culture, and architecture. Originally from Grand Chenier, Louisiana, Bonsall developed a passion for art early in life. After serving in World War II, he studied fine art at Louisiana State University. His career initially took him to California, where he worked in theater, television, and film set design.

In the 1950s, Bonsall relocated to New Orleans, where he immersed himself in the city’s vibrant art scene. Over his career, he created over 500 works, ranging from Southern landscapes and still lifes to modern abstract compositions. He experimented with multiple mediums, including oil, watercolor, acrylic, and pastels, always pushing the boundaries of modernist expressionism and regional storytelling. His works have been exhibited in galleries, institutions, and private collections, cementing his reputation as a vital figure in 20th-century Southern art.