Bloom of Works

“Rosé Wine Flowers” [24th November 2024] by Matt The Unfathomable Artist, abstract acrylic painting on A3 250gsm mixed media paper, 4000 x 2914 pixels.

For readers who haven’t seen my pre-published social media here is a commentary for the artwork above in bold and italics:

“Rosé Wine Flowers” began with splatting a fan brush all over the canvas. Much fun to be honest. I then brushed in abstract shapes impasto style. The copper creates a wonderful contrast to the canvas which I have included in the photography for you to enjoy.

I have seen a ‘soldier’, ‘Beethoven’ or perhaps a ‘scientific genius’ in the abstract shapes. 100% pure chance. The vermilion hue red I added to harmonise the painting whilst also experimenting with compositional ideas.

From this lattermost freestyling I derived the working title “Rosé Wine Flowers” since afterwards it immediately reminded me of an artist’s work I viewed in a gallery some time ago in 2008.

An artist style I could recollect some sixteen years or so later. Her expertise is floral depictions. I felt my cadmium-red brush lines inadvertently emulated her floating, dreamy canvas quality.

Cadmium-red overpainting transformed this painting, providing definition with structure. A place for your eyes to wander.

‘The Beethoven’ as I shall call the mid-lower chance portrait is purely a bonus.

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Artist Styles

“Golden Sun Bathed in Red” [8th September 2024, dry paint image on the 11th] by Matt The Unfathomable Artist, acrylic paint on premium 115gsm medium textured cotton primed to 240gsm over 12in x 16in (30cm x 40cm) wood-fibre board (4mm), 6000 x 4461 pixels.

From social media in bold and italics:

[ I made “Golden Sun Bathed in Red” very quickly in two drafts. The first draft palette work to cover the canvas with a purple I mixed from red/blue acrylic. Then around half an hour to an hour later I produced the entire work within approximately one hour using brushwork primarily.

Palette work can be seen for the sunray fronds. The paints I used additional to the red/blue purple are gold, cadmium red, iridescent copper, orange and green. ]

Do click on the image above, see for yourself the artistry within the painting.

The photography for the original image (shown immediately below) is a specialised style I developed from my sketch “King James VI & I Oak of 1612 Branches in Sunlight”. Whereas the latter is direct lamp light, for “Golden Sun Bathed in Red” I photographed with indirect lamp light.

“Golden Sun Bathed in Red – wet canvas in indirect light” [8th September 2024] by Matt The Unfathomable Artist, acrylic paint on premium 115gsm medium textured cotton primed to 240gsm over 12in x 16in (30cm x 40cm) wood-fibre board (4mm), 5724 x 4189 pixels.

The point I’m making with my artworks is light makes a difference to the presentation. Often I think how I wish an individual artwork to be displayed in terms of lighting.

For instance I have a specific installation idea for “Gold & Blue Abstract After Rothko” (click link to see artwork). I see “Gold & Blue Abstract After Rothko” in an enclosed booth. Each viewer walks in through the low ceiling doorway entrance, likely bowing as they do so. They reach the painting, sitting down at personable distance to the moonlit-like artwork.

Sat meditating. To contemplate their life and life. To refind peace.

By the way, I saved someone work for much later with “Gold & Blue Abstract After Rothko” to help with any potential restoration work centuries yond.

Here it is as a reference for a dear old lady of the future:

“Ecce Pueri” [4th April 2024] by Matt The Unfathomable Artist, digital image hand drawn on screen over original abstract, 1089 x 1641 pixels.

If Monet can begin with caricatures (please refer to the link here Claude Monet’s Caricatures) to influence modern French cartoons, then it is good in my eyes. Besides, I have an immense humour.

[ Claude Monet Caricatures website link courtesy of Draw Paint Academy ]

Breadcrumbs in tarragon crusted sea bass anyone?

Yesterday evening I was walking around theatrically to myself, waving my hands aloft in the air dramatically exclaiming ‘I see the hands of Calibos!‘.. continuing with ‘oh what eyes you have Grandma‘.. then finishing on chatter about wolves in sheeps clothing of fabled fame.

Fun, fun, fun the intellects of centuries past.

I went on to thinking about The Allegory of Good and Bad Government (please click link to view). Artists of the 1300s understanding the contrary elements of good or nefarious intent.

Essentially “Golden Sun Bathed in Red” is specifically a mix of Van Gogh and Munch for style. Their work is loved for a reason..

.. quality and care.

The search for most every professional artist.

With this in mind I shall share with you a quote courtesy of Daily Rothko:

“…nobody has any conception of how poor we all were then. I remember maybe as late as 1955, you know, after the so-called triumph of Abstract Expressionism Rothko saying to me, ‘If somebody would pay me $500 a month for all my past work, which constituted hundreds of pictures, plus everything I’ll make in the future, I would gladly accept it in order to survive.’ I remember looking him in silence because we knew – and this is in 1955 – that nobody in the world would pay him $6,000 a year for his total output; and he was married with a child in the most expensive city in the world.” – Robert Motherwell

(Interview by Paul Cummings at the Artist’s home in Greenwich, Connecticut November 24, 1971, Smithsonian Archives of American Art).

Appreciating and dignifying the monetary value for his work Rothko was in effect asking for $5,882.48 a month if we adjust $500 in 1955 for inflation.

Today, completely unconnected to adjusted inflation Rothko’s rather modest 1955 commentary-offer easily proved worthwhile with his abstract paintings selling for millions of dollars.. each.

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Aelita Andre – Abstract Expressionist Genius

‘Sun Flares and Pegasus’ [2008] by Aelita Andre, acrylic on canvas, 36 ins x 24 ins. Photography by Nikka Kalashnikova.

Let’s begin with the second most surprising aspect of Aelita Andre’s artwork as you read my blog herewith..

.. Aelita is just 10 years of age at the time of my writing this article.  And yes, when you look at all her most up-to-date work displayed on her website: http://www.aelitaandre.com/ you might become perplexed at how Aelita has work going back to 2008!

Highly respected gallery curator Peter Gagliardi describes Aelita Andre as a genius.

The above artwork ‘Sun Flares and Pegasus’ is undoubtedly the work of a naturally gifted artist regardless of her tender age.  It’s reasonable to say that even the most knowledgeable art professionals cannot possibly know every single artwork by every renowned artist of the past 500 years.

There’s always a new masterpiece yet to be discovered..

Her arrangement of colour, use of space and positioning of paints in an orderly chaotic art production is confoundingly beautiful to explore throughout this piece.  It’s clear to see that Aelita enters another world whilst she paints.

The Artists Dimension.

Abstract work as a style soars with the sense and feeling of an eagle when it comes to subconscious ideas represented within artforms.

If Expressionism is the perceivable representation of any given physical subject how do we artistically explain expressionist works regarding invisible matter?  I do believe this is possible since we can genuinely interpret shared emotions from Abstract-Expressionist works.

The art world makes readily classifiable distinctions between art styles.  Reinforcing the art classification table from classical fruit bowls to abstraction.

That the art business is founded on creativity, originality and quality is the reason why Aelita Andre’s work will continue to be sought after.

I chose to write about ‘The Time Before Time’ pictured below courtesy of Nikka Kalashnikova as I’m enthralled by its unusally clever expressionistic quality.

Honestly, as always, this is one of the best artworks for mentally picturing how one might physically imagine TIME itself.  Especially as I’m an admirer of the visionary H.G. Wells.  It seemed perfectly conceivable to me almost to the point of laughing until solemnly returning to my instantaneously intuitive conclusion..

.. that Aelita has envisaged a believable metaphysical painting of ‘Time’ just as one might artistically reveal atmospheric Earth air, universal space or the various forces of energy.

We have to be entirely serious about being fun.  Aelita Andre is commensurate in both.

‘The Time Before Time’ [2015] by Aelita Andre, acrylic and silver leaf on canvas, 30 ins x 24 ins. Photography by Nikka Kalashnikova.

‘Swirling Starlight #3’ shown below has a magical quality, depth of structure with considerable intricacy and a notably romantic flavour.  The textural layers correspond neatly.  An entire orchestration of colour.  Our ‘mind-hands’ call upon our eyes to ‘touch feel’ thus causing our complimentary senses to wander all around the canvas excitedly.

Only learned painters can produce work with such skillful art direction as this.  All her own.

Nurture accompanied by natural genetic advantages.

Gwyneth Paltrow has numerous artistic talents that had the freedom to grow in a creative environment.  Again though, we’re all unique persons.

We have to learn these things for ourselves.

Aelita’s perceptive awareness made sense of the art around her breathtakingly quickly.  All art beyond purely spiritual actuation requires some process of originating physical ingenuity.

Aelita attained personal-artistic-physical control over what she was painting from a very early age.

Born with a natural gift made in about nine months.

Interestingly there are some child geniuses of mathematics whose parents haven’t the slightest idea where their child’s abilities were derived.  Even so, parents whose child had reasonable early nurture in any given field at first struggle with the reality that their child is accomplishing feats beyond any ordinary explanation.

‘Swirling Starlight #3’ [2014] by Aelita Andre, acrylic on canvas, 24 ins x 30 ins. Photography by Nikka Kalashnikova.

Continuing our discussion about early artistic ability ‘Blue Butterfly’ shown here..

‘Blue Butterfly’ [2011] by Aelita Andre, acrylic on canvas, 40 ins x 40 ins. Photography by Nikka Kalashnikova.

.. is particularly impressive as we all enjoy seasonal butterflies performing their instinctive dreamy dances as winged fairies across our sunny blue skies.

Deoxyribonucleic acid = DNA.

Strands and fronds float about going to goodness knows wherever they please.

Professional artists inspire and become inspired.  Whilst viewing ‘Blue Butterfly’ I began thinking about artworks at the atomic and molecular level as explanations across art genres.  The interactive experience roving gleefully over this most artful achromatic-chromatic painting is intensely inspirational.

The capacity for Aelita’s personality and her artworks to inspire people of all ages will firmly establish Aelita Andre as an eminently recognisable international artist.  I love her engaging art performances, the irrepressible elegance and attractiveness of her wildly free-spirited pieces.

Aelita Andre is the living definition of an Abstract-Expressionist genius with true star quality.

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Jackson Pollock Wows

No. 5 (1948) by Jackson Pollock. 243.8 x 121.9 cm (8ft by 4ft)

No. 5 (1948) by Jackson Pollock.
243.8 x 121.9 cm (8ft by 4ft)

No.5 completed in 1948 is without doubt the most famous abstract painting ever.  Produced by dripping paint onto the canvas during an ordered creative art process.  No. 5 has a beauty all of its own.

Pollock was working at a time when the whole abstract art movement was positively vibrant with pace and ascendency.  If you could hop into H.G. Wells “Time Machine” and travel back to Pollock’s art era you would see the equalling influence of leading abstract painters during his life.

Every artist has their own style and constructive technique.  What demonstrably impressed me about Pollock is his professionalism.  He is meticulous, innovative and inspirational.  Clients often expressed their appreciation for his work with profound eloquence describing the beauty of his art as a rapture or a deeply spiritual experience to them.

Jackson enjoyed layers to add depth.  He understood that dissemination can be beautiful if it’s ordered and fashioned in an exciting way.  This expertise that color and structure can be strongly emotive is why he is a Master of the modern art era.

An Abstract giant where there is little or no perceptible form to discern except that which we perceive as feeling within.

What makes popular?  Who holds the secret?  Why does something non-living have continuing value both monetarily and as a connection to the human experience?  Perhaps the answer is the very question.  Out from a non-living arty contrivance we see the personality on the canvas, the fiberboard, the paper or the multitude of ‘watercoloured skies’.

Can we really be objective about art?

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