“The Lady Who Has Her Hair Combed” [Saçlarını Tarayan Kız] by Osman Hamdi Bey
Osman Hamdi Bey was born 30th December 1842 in Constantinople, modern day Istanbul Turkey, during the Ottoman Empire.
Wikipedia states that Osman Hamdi Bey was “an Ottoman administrator, intellectual, art expert and also a prominent and pioneering painter. He was also an accomplished archaeologist, and is regarded as the pioneer of the museum curator’s profession in Turkey.
‘Lady Having Her Hair Combed by a Servant’ shown above is an exquisite artwork worthy of its historical value and tender delicacy. I believe The Dolmabahçe Palace may still be exhibiting ‘Lady Having Her Hair Combed by a Servant’.
‘Lady In Yellow Dress Arranging Flowers In A Vase’ by Osman Hamdi Bey
Above we see a lady beautifying a sitting area. One knee bent alludes to a serving attitude whilst looking upwards, channeling her spiritual consideration and deferential poise. Real flowers cleverly merge contextually with the florally patterned couch. An elaborate symbolic replication of the pinkish-white flowers imitates her lithe, servient inclination.
The lady reaches outwards, extending her left foot to attend to her wholesome duty. There is artistic evaluation within her head posing, wholly reflecting the creative nature of her pretty decorative arrangement.
‘Ladies Taking A Walk Holding Umbrellas’ by Osman Hamdi Bey shown immediately above has to be one of the finest artworks you can view, display or own.
Pierre-Auguste Renoir meets Osman Hamdi Bey.
The realist quality, colour composition, masterful use of canvas, glorious shading, far-ground Renaissance trees’ styling and sense of feeling throughout encapsulates the phrase Beyond Words, perfectly.
Perfection to the amplification of millions.
‘At The Mosque Entrance’ by Osman Hamdi Bey, shown immediately above.
John William Waterhouse meets Osman Hamdi Bey in ‘At The Mosque Entrance’.
With the incredibly high prices certain art pieces attain – the ‘Salvator Mundi’ by Da Vinci being the existing summa omnium temporum – I believe this particular artwork also has spiritual merit.
“An exception to an agreed rule brings a finger that will wag or a tongue that will sway.”
“Scales well balanced benefit all. Not a nod or a wink to be seen.”
“Happiness receives much gain and its home is a joy to see.”
“Wisdom is Open & Non Judgmental. Everyone knows exactly where this stands.”
“Great Speakers are good Conductors. Leaders rather than unseasoned followers. Yielders to reason rather than bucklers for selfish gain.”
“Pawns once removed shift balance whilst equal numbers percent a pleasing draw to conclude.”
“Time is a two-way pressure. Yet all things seem relative to only one.”
“Resolve lifts up the shoulders, a helping hand keeps comforting a burden.”
“A family is like a beloved homeland. A castle with a roaring fire against the cold and a contented nest for its warmth.”
“A contender can speak brash words to stir up whilst a seasoned Champion speaks of calm.”
“Equal is the work of the strong ones hands and the speed of their thoughts.”
“One that works hard at life sees gain. It is like Gold, Silver and Bronze for its sheer weight or like a purse signed with many colourful banners.”
“An emblem is a sign of fortitude and strength. Its people speak out glad things and welcomes strangers as friends.”
“The mere hen of a wealthy person’s garden lays eggs day by day. She does not concern herself over food nor does she become anxious under rain.”
“A drink quenches the thirst for a moment. Love is remembered forever.”
“A woman’s heart is at its fullest whilst suckling her newborn child.”
“Deep prussian blues swimming, terracotta heights cascading, brimming, yellow golds mixing, blue and white skies sunkissing, a marvellous photo for the person relaxed, picturing.”
“Can you build a house without breaking a worm?” or “Who can build a house without breaking a worm?”
“Elohim is wise that Elohim made all of us eat from the clay that Elohim made.” – Have you ever considered why the intellectuals spoke about the Mind of Elohim?
‘Wonders shall cease not, though one million solar years pass with feet that tread mud.’ – published on 30th January 2018
‘Urgency mixed with the oils of imperturbability’
‘There is light approaching, for the dawn settles many a dispute with the night’
‘Our legs are the Wheels of the Universe’
“Who made the stars work together to make firm your walking?” or “How did the stars work together to hold your walking in its place?”
“If entirely fathomable, wouldn’t be Unfathomable.”
“Who art wisest, those that know not the heart or those that know the Land, the Sea and the Air?”
“I know that to circumnavigate the Darkness we each need Light at its due time.”
“There is a place we do not know, that will never knows, that when we do know, will never knows, even though we do already know that before time it is impossible to know.”
‘I want to change the world by keeping it the same and I want to change the world by making it different.’
‘Sometimes perfection is immediate and sometimes it takes time.’
[ ‘Whence I lighted upon this magnificent horse, its beauty quite Unfathomable in every way, I immediately envisaged a sketch for his handsome expression and exquisite pleasance,
Eyes likened to the grey seal pup, spirit as Universal thunders, herds of fallow deer for movement and his adorable grace equaling that of the Octopodes.’ [writing 1st July 2019]. ]
‘Who would draw near to Leviathan to hunt those that call out from the freedom of their shells?’
‘I am for nurturing planet Earth like I am for ‘My Springboks, My Springboks’.’
‘You are concerned with three pence in the pound whilst three thousand million is sleeping sound.’
‘Death is the great humbler. For some life is a forever lover.’
‘Life is the starling that calls out for the grub.’
‘Are [the] obstacles lines in the sand that can be moved?’
This is all I can comprehend of this phenomena in the present time.
‘The Thinking from Old’ [9th April 2019] by Matt The Unfathomable Artist, blue ink pen on A3 light textured paper – signed. Digital filter and effects applied to photograph. Original poem copyright 7th April 2019.
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Poem by Matt The Unfathomable Artist entitled ‘Me Want, We Want‘:
‘Me Want, We Want’ [4th/7th June 2019] by Matt The Unfathomable Artist, blue ink pen on A3 light textured paper.
‘Me Want, We Want’ [19th March 2020 digital version in Elephant font] by Matt The Unfathomable Artist.
n.b. Oh do tell me you love this 📃 For if you do, you love Victorious The Butterfly as I do.
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“Nay Shy, Nay Shy“
‘Would you like to see the sky as seagulls fly
or waves made as dolphins and whales that ascend upon high,
laughing bound as seconds they escape their watery surround,
replete with animated odes that fill eyes with salted joyful tears found,
nay shy, nay shy to all of life’s earthly sounds?’
“Nay Shy, Nay Shy” by Matt The Unfathomable Artist – copyright February/March 2020.
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“Gazes Are Nebulae” [16th March 2020] a poem by Matt The Unfathomable Artist.
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“If Entirely Fathomable, Wouldn’t Be Unfathomable“
‘If Entirely Fathomable, Wouldn’t Be Unfathomable’ [Sap Green, 26th April 2019] by Matt The Unfathomable Artist, Sap Green oil paint writing on A3 light textured paper, Pop Art, signed ‘Matt’ on reverse. Digitally edited photograph. Original Saying created December 2018.
‘If Entirely Fathomable, Wouldn’t Be Unfathomable’ [Red Ochre, 26th April 2019] by Matt The Unfathomable Artist, Red Ochre oil paint writing on A3 light textured paper, Pop Art, signed ‘Matt’ on reverse. Digitally edited photograph. Original Saying created December 2018.
‘If Entirely Fathomable, Wouldn’t Be Unfathomable’ [Aquamarine, 25th April 2019] by Matt The Unfathomable Artist, Aquamarine oil paint writing on A3 light textured paper, Pop Art, signed ‘Matt’ on reverse. Digitally edited photograph. Original Saying created December 2018.
Quotation for “If Entirely Fathomable, Wouldn’t Be Unfathomable“:
Y over O in ‘Aquamarine’,
Y intersects B in ‘Red Ochre’,
Y is a constant over MA in ‘Sap Green’.
T required calculation.
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‘If Entirely Fathomable, Wouldn’t Be Unfathomable’ [5th August 2020] by Matt The Unfathomable Artist, dip nib pen using original iron gall ink recipe on A3 [180 gsm] Artist’s paper.
Viewing the artwork shown immediately above you will clearly see my formulatedequation as follows:
The ‘a4 LY’ equation [6th August 2020] by Matt The Unfathomable Artist, digital version.
Likely astronomers, engineers and mathematicians can help explain the correlation to us.
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‘Puddle‘ [4th July 2020] by Matt The Unfathomable Artist.
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“I Want To Change The World, Different Same” the ‘higledi-pigledie version’ [30th July 2020] – a saying by Matt The Unfathomable Artist, dip nib pen using original iron gall ink on A3 [180 gsm] Artist’s paper.
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“Thy Glinted End”
“Rhythm taut flexed skin,
Phoenix constellated Xiaolin,
Grey troned electronic queue,
Washington imbued stately hue,
Accrued in silvric metalled smite,
Smelted gilded ladened kite,
Embark radared mineralled sight,
Warp’ed Traveller supered extra-Nigh,
Prospect ye illust-fabled crystalline bright,
Crush-cookied shaped girded lineal spars,
Soot tunnelled depth-charged night,
Terraquoised chasmed vultured sleep,
Shah-Khan, Bosi, Tanakh, Chi-Tewan,
Resonate volumed anti-quet Clan,
Green threaded strongheld quasi-Blue,
Mired Red wounded aged dread,
Of ye an’ ye thy Stratos fallened through,
Meat thou meeted glinting End.”
by Matt The Unfathomable Artist, copyright 9th December 2020.
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“Spook’ed Mangled Soul”
“Spirit darkened myriad troll, Thouest spook’ed mangled soul, Quibbled night, contentious rift, Confuffled postulation, cantankerous shift, Tis mere blight, a trifling blip to your day, Thy creaking lull, makes fishers hay, Thine sinking bedraggled vessel, Lest not evil grin dishevel, Fallen Kraken weighted bat strewn cavern, Taking monstrous sup, Debauch’ed bloodied tavern cup, Wolves a’ howling melod’ thee lungs, Arms of fire, defended Damascus guns, Sighs overgrown, deaden’ed bite, Hollowed eyes devoid’ed fright, Artily made Love, submersive eve’n unto die, Pitifully uncan’ bruted tragic joy, As scrying imaged plotted ploy. Guard thy torrented storaged keep, For lovers one cannot nightly weep.”
– by Matt The Unfathomable Artist, copyright 25th October 2020.
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“Nine Six Nine Deciduous”
‘One wisheth to be fastidious,
Exuberantly earthened unhideous,
Fettering the Demarcatious,
Being Nine Six Nine deciduous,
Half the Time Draconian contiguous,
Fervently filial-al,
Omnisciently quintessenti-al,
Redolently chromosomium,
Extricably balonium,
Hath thou eve’n heard thy Meconium?
Tellest thee of thine Meconium.’
– a poem by Matt The Unfathomable Artist, copyright January 2021.
“Air the quiet after a Caribbean storm, Wind blown dust settled, Soft breezy stillness. Lightning enriched, Charged particles, ionized happy 🙂 Fresh like Antarctican mountain snow, Where gusts breach one hundred empirically, Wolverine traverses Alaskan peaks, with swagger-fleeted perfection, The morning run, in a City, Bremsstrahlung.”
”three pence in the pound“ [digital Art, 26th December 2023] by Matt The Unfathomable Artist, digital artwork, 1920 x 1080 pixels.
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”life is a forever lover“ [digital Art, 26th December 2023] by Matt The Unfathomable Artist, digital artwork, 1920 x 1080 pixels.
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“MΣ [Starry version]” [25th June 2021] by Matt The Unfathomable Artist, digital sketch originally using 3H HB 3B pencils, includes 3.00 gamma correction, original sketch on A4 135gsm Artist’s paper, digital sketch 4698 x 4115 pixels.
Please note this blog article will be updated over the years as a published record of artistic sayings, poems and songs by Matt The Unfathomable Artist.
William Shakespeare by an unknown artist, [1603] oil on oak wood panel, 42 cm × 33 cm
“Love all, trust a few,
Do wrong to none: be able for thine enemy
Rather in power than use, and keep thy friend
Under thy own life’s key: be cheque’d for silence,
But never tax’d for speech.”
“Have more than thou showest, speak less than thou knowest, lend less than thou owest”
“Men at some time are masters of their fates:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.”
“What is the city but the people?”
“But, for my own part, it was Greek to me”
“What ‘s gone and what ‘s past help should be past grief”
“This was the noblest Roman of them all”
“Let me be that I am and seek not to alter me.”
“Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate.”
“I desire you in friendship, and I will one way or other make you amends.”
“Come unto these yellow sands,
And then take hands:
Courtsied when you have, and kiss’d
The wild waves whist.”
– from the plays and sonnets of William Shakespeare, Esquire.
“Revolving Stars” [c2005] by Ignotum Est Artifex, ink pen with the untrained writing hand on A4 paper.
This art blog has been produced with every reasonable belief and non-belief in mind.
Throughout the known ages of humankind – religion, science, philosophy, art and non-belief systems have been explored, defined, experienced, promulgated and vicariously studied.
Imaginatively rolled up like papyrus or parchment.
‘Wonders shall cease not, though one million solar years pass with feet that tread mud.’
‘Self Portrait of Élisabeth Louise Vigée Le Brun’ [1790], Oil on canvas, 100 x 81 cm
The ‘Self Portrait of Élisabeth Louise Vigée Le Brun‘ [1790] shown above is delicate, forceful and gracefully timid of pose. The feathery handling of hair, elaborate white-cream fabrics and curious pose whilst looking to the mirror extols her professionalism.
Did you notice that this painting is actually a self portrait of Vigée Le Brun producing a working portrait?
Élisabeth married influential art dealer Jean-Baptiste Pierre Le Brun in 1776, himself born into an impressively artistic family. His great-great uncle was Charles Le Brun – https://en.wikipedia.org/wiki/Charles_Le_Brun.
Élisabeth Vigée Le Brun herself is daughter of French portraitist Louis Vigée and sister to playwright Étienne Vigée. Skillful art heritage assisted Élisabeth Vigée in successfully competing within aristocratically lucrative landscapes. Eventually Élisabeth Vigée Le Brun is rewarded for her hardworking technical merit through membership to the Académie Royale de Peinture et de Sculpture in 1783.
In addition to actively seeking industry connections quality reigns supreme, dot com.
‘Portrait of a Young Woman’ [c.1797] by Élisabeth Louise Vigée Le Brun, Oil on canvas, 70.5 cm x 82.2 cm
‘Portrait of a Young Woman‘ [c.1797] by Élisabeth Louise Vigée Le Brun incorporates a studio posing style Élisabeth was familiar with. Further research is required to understand the placing of arms, folded inside outer garments.
The backdrop is Renaissance in style whilst Vigée Le Brun’s work intermixes Baroque, Neoclassical and Rococo themes. A learned expert, without question, given to intensively study her past and contemporary art Masters.
We can see a sense of movement to her subject’s hair, windswept, traversing waves set sail across the Atlantic, Pacific or Mediterranean oceans. Her outer garments are perfectly defined and believably intricate.
Fashion, Fashion, Fashion with added Heart Eyes Emoji.
Supercool.
‘Portrait of Charles-Alexandre de Calonne‘ [1784] by Madame Vigée Le Brun, Oil on canvas, 155.5 x 130.3 cm
How does one begin to describe this painting by Madame Vigée Le Brun of Charles-Alexandre de Calonne?
Beyond Words.
I want to lean forward in an attempt to prevent his precariously placed paper document from falling to the ground. Her painting so breathtakingly real it positively interacts with us as the viewer. A calm, easy, attentive posture. Tremendous power emanates from the subject.
Digitalised Virtual Reality – the optical illusion provoking a sensory response with body and mind.
Here is a past The Unfathomable Artist article about John W Waterhouse, therein explaining his similar ‘VR-like’ ability:
‘Judith and Her Maidservant’ by Artemisia Gentileschi, c1625-27, Oil on canvas, 184 cm (72 in) × 141.6 cm (55.7 in).
Art fans interested in Italian Baroque..
..Artemisia Gentileschi to the rescue.
In my opinion Artemisia can effortlessly flow between pre-Raphaelite, Renaissance and Baroque styles. The latter style incorporating her most dominant structural preference.
Typically extreme contrasts between dark shading counter-referenced by strong natural or incandescent light upon subject/s revealing foreground details.
The Baroque style is often accompanied by dynamic, intense action designed to infuse a sense of pictorial awe and..
.. Controversy.
I could have happily chosen Orazio Gentileschi, her father, here: https://en.wikipedia.org/wiki/Orazio_Gentileschi to write about however I wish to balance my blog with various artists. For further details about Artemisia Gentileschi’s life please read her Wikipedia page, here:
The purpose of this article is to examine her artworks displayed on this page.
This original version of ‘Judith and Her Maidservant’, shown above, clearly emphasizes a female artist at the height of her ability. A father and daughter learned of their craft.
Professional artists of their own volition.
The swaying candle flame, gripped sword at the ready, shadows exquisitely represented. Seriously, we have never seen artistic shadow painted better. A simple statement suffices, noting those superlative Baroque italics included.
Artemisia delivers to us a masterpiece as if with the birth pangs of effort and tumult. It really is ‘As Good As It Gets’.
Except of course there is no romantic comedy in this painting. A greying, lifeless severed head tells a completely different, graphically violent story.
Cardinal robe red drapery overhanging silent gestures tells of an urgent sense of concealment to their obvious caution. Concerned expressions magnify their violent crime.
Let thee shudder as we turn our attention to her next masterful painting chosen for this blog article:
‘Bathsheba’ by Artemisia Gentileschi, c1636/7, Oil on canvas, 265.43 × 209.55 cm (104.5 × 82.5 in).
Immediately it was emotively certain for me to include an example amongst her distinctive ‘Bathsheba’ paintings, shown above.
Renaissance of composition.
For the love of goodness, please look at that silver bathing vessel. It exudes perfect metallic strength, depth and solidity. Should I ever paint metal like this I shall dance around a hallway with all the grace of a mountain goat cascading rocky climbs.
Glass in hand. Celebratory.
Truthfully, Artemisia is modestly accentuating compositional skills at the very word of experts during her lifetime. The architectural construction, also, Beyond Words. The silks, sublime.
Everything in life has rhyme and reason.
The feminine figures foreground positively engages us as viewers. Feigning, whilst attentive. Could it be that the two standing attendants (maidservants) are competing with one another for Bathsheba’s favour?
Engrossed in their respective beautifying function.
Next I chose to venture a painting by Artemisia Gentileschi extolling her pre-Raphaelite competence:
‘Allegory of Inclination’ by Artemisia Gentileschi, c1615 – 1616, ceiling canvas Casa Buonarroti, Galleria, Florence.
Heaven appears to be a firmament in this painting, ‘Allegory of Inclination’ by Artemisia Gentileschi.
Shown above.
Her dreamy-peculiar distant expression. Sensuous handling of the subject material. Modesty covered fleetingly as if by a soft breeze. A bowl of revelation. The star of Magi. Hair tied attractively away from her face to depict important work with far-sighted vision.
Porcelain skin for chastity. The absence of extreme shading for angelic purity. Harmonious legs. Withdrawn body posturing.
Artemisia Gentileschi is quite the feminist throughout her work. I perceive her as willfully strong, confident and determined. Respected as an equal both in society and as a female artist of her generation.
Michelangelo’s nephew, Michelangelo Buonarroti, does not surprise me with his considerable regard at choosing according to eQuality for work relating to the artistic interior decoration at Casa Buonarroti.
Artemisia delivers fine art each and every time.
‘Danaë’ by Artemisia Gentileschi, c1612, Oil paint, copper, 41.5 cm (16.3 in) × 52.5 cm (20.7 in).
‘ Danaë ‘ shown above is an unusual composition.
This artwork, to my mind, describes two stories in one painting. Especially with the interpolation between Danaë and various artworks of Cleopatra by Orazio and Artemisia.
Interestingly Orazio, her father [link shown earlier in this article] also uses similar gold coins falling in his $30.5 million ‘Danaë‘ masterpiece sold January 2016.
With professional art collecting all factors might be evaluated. Historical, monetary, emotional, sentimental, proficiency, influence, provenance, creativity, artistic status and social interconnection.
That Artemisia was an industrious woman is a true testimony of her fighting spirit to achieve artistic greatness. A spirit that urges a naturally gifted person without compromise to stand proudly with her peers.
Please note that a scholarly article is available online by Britiany Daugherty which includes inciteful research into Artemisia Gentileschi’s life and works, link here:
‘Martigues’ [2014} by Tom Watt, Acrylic on board, 32 ins x 32 ins.
Art commentators retain interest with artworks they admire. I’ve been following Tom Watt’s work for a number of years now. His oft colourful, strikingly-vivid style is thrilling.
A happy place.
Sunshine draws out colour. Wavelengths equate to distance over strength multiplied by the light.
‘Martigues’ by Tom Watt reveals accentuated light far ground and overcast shadows near sight. A masterpiece.
On my ‘to-do’ list is my insistence to produce an abstract that portrays electromagnetic waves in the order of the visible light spectrum. Our eyes are naturally drawn to the separations of perceivable light.
I envisage this very idea in Tom Watt’s painting shown above..
.. as Impressionism incorporating elements of science. ‘How supercool’ the artist exclaims.
The structures of the buildings are vibrant. Full of character. An optical invocation, real and imagined. Notably contrasting hues is a regular feature within Tom Watt’s work. So too is his instinctive and excitable painting dexterity.
We carry ourselves spirited to Tom’s selected vistas.
I think Tom would make an excellent squirrel. Storing up sighted treasures carefully, pausing for thought then immensely busy with lightning quick activity. Artists can learn from this. Swift brushstrokes generate ultra-creativity.
Hey, you can call me ferret if you like. It’s all good.
Highly attuned acuity. A culmination of all our senses reflects the inner conscious, instantaneously superprocessing.
When you walk into a room. As you explore sights. Meet new acquaintances.
Enter The Artists Dimension. Where, therefore, our brushstrokes become feelings.
Dot, dot, dot, Triple dashing work.
‘Port de Sanary sur Mer’ [2012} by Tom Watt, Acrylic on board, 18 ins x 18 ins.
Visual artists, photographers and cinematic Directors become masters of light.
‘Port de Sanary sur Mer’ by Tom Watt is a complex composition that requires the brain to arrange the subject material by concerted effort. Some artists might shy from this difficult port view.
Experience always loves an intellectual challenge.
The towering shape yonder ground dominates. Then we take in the small boats and begin to consider the elegant water. Likely we’ve noticed the reflections upon first glance. Happily returning to carefully conjure a different ambience through the fluid mirror of water.
Impressionist magic – things are sometimes what you want them to be.
The human version of a positronic mindset recalibrating itself.
Next we have ‘Cheese Seller’, pictured immediately below:
‘Cheese Seller’ [2008} by Tom Watt, Acrylic on board, 24 ins x 24 ins.
I chose to publish one of his noble Occupational Series of artworks not least on the strength of the workers quizzical facial expression.
The cheese seller cradles his specialist food wares close to his chest. His flat cap speaks volumes as to a traditional craft. Sleeves rolled up. An intense look.
Is he about to offer his fine cheeses at a well bartered price? Or is the cheese seller anxiously checking out the competition?
The beauty of an honest day’s work is in our grasp.
This is a worthwhile moment to feature the studio that Tom has formerly resided at, situated in the South-West of France.
Photograph courtesy of the artist:
Photo: The Artist Studio of Tom Watt in the South-West of France.
The fourth painting I decided to write about in this blog article is ‘Fete in Sète’ [2004], here:
‘Fete in Sète’ [2004} by Tom Watt, Acrylic on board, 9 ins x 9 ins.
The port of Sète on the Mediterranean is renowned as an attractive and lively tourist friendly town. It’s clear to see why an artist would choose to paint here. Especially as Tom actively searches for pleasing colour variations.
‘Fete in Sète’ has a palette mix of tones dark to light. The focus is on the two protagonists in this picture play. They’re working at their music. Two hats compliment the beating drum. Wind and percussion instruments side by side. My earlier depiction..
.. a happy place.
Light is gently basking the left-side of our two deliriously oblivious subjects, almost like bees intoxicated by the serious business of honey production. Busily enthralled with the fan fair. The sweet music has moved them to savour the sounds along with the onlooking crowds.
Existing works entitled ‘Five Gondoliers’ [15 ins x 15 ins], ‘New Year snow Tregoux’ [24 ins x 24 ins], ‘Breton harbour reflections’ [29 ins x 29 ins] and ‘Eau de vie Maker’ [9.5 ins x 9.5 ins] could easily have been chosen for this blog article to review various talking points.
My blog is written wholeheartedly as a true dilettante of all Tom Watt paintings. Once again a truly first-class artist makes me wish I hadn’t established the tradition of choosing only four paintings per article.
The charm of art is finding something personal within artworks. Art dealers look for technical merits to the nth degree. Tom Watt’s work has this quality in plentiful abundance. Hints at his personality shine through his artworks time and again. The sentimentality of art and its unique monetary value is inexplicably linked to ‘personality on the canvas’.
For a detailed look at a modern Impressionist painter at their very best I invite you to explore Tom Watt’s artworks beautifully displayed on his website: https://www.tomwattartist.co.uk/
That you’re reading this article.. you will become a Tom Watt fan too.
‘Siberian Tiger from Endangered Species’ [1983] by Andy Warhol, Screenprint on Lenox Museum Board, 38″ x 38″.
Thirty four years ago as a distance of Earth time can be viewed quite differently depending upon your perspective.
In the universal scheme of things it’s a blip of light. The prehistoric warming of our life-supporting planet helped our atmosphere to form.
Cup your hands together, place your hands over your mouth and breathe outwards.
A gaseous dome slowly appeared as a refractive curvature around the cooled Earth crust. Physically speaking Time represents a slingshot, as far as one can understand its concept.
Whilst quantifying vast universal distances we are technically measuring things with a supermassive curved ruler. If you threw measuring tape across a room to gauge its length you would land at a reasonable estimate.
Throw measuring tape to the outer universe and even with the best will in the world, very strange things are going to happen as regards Time and Relative Dimensions in Space.
Think of our sea with its known pathways and currents throughout its depths.
Then imagine the Universe with all its contained masses conveyed at varying speeds according to their ebb and flow.
Linearity becomes a distinct calculative problem.
‘Pine Barrens Tree Frog from Endangered Species’ [1983] by Andy Warhol, Screenprint on Lenox Museum Board, 38″ x 38″.
Amphibians are amongst the coolest of animals, particularly growing up, myself, as a child of learning. Just as otters, honey badgers and dolphins are natural comedians.
Amphibians look kind of extraterrestrial in a mostly pleasant way.
Andy Warhol’s conservation screenprints, four of ten shown here, should be recognised as an artistic yardstick to amplify progress.
Propensity and discombobulation.
The ‘Pine Barrens Tree Frog from Endangered Species’ clings on, above.
‘African Elephant from Endangered Species’ [1983] by Andy Warhol, Screenprint on Lenox Museum Board, 38″ x 38″.
There can be no doubting that Andy Warhol is the King of Pop Art.
Shown above, ‘African Elephant from Endangered Species’ cleverly depicts a reduced landscape to emphasize scale.
‘San Francisco Silverspot from Endangered Species’ [1983] by Andy Warhol, Screenprint on Lenox Museum Board, 38″ x 38″.
Would not all things appear too monochromatic without the ‘San Francisco Silverspot from Endangered Species’ by the popular artist?
We can make art in order to transport us toward positive change and to affect.
“They Always Say Time Changes Things. But You Have To Actually Change Them Yourself.” – Andy Warhol.
The Unfathomable Artist 
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