Andy Warhol Highlights Conservation.. TODAY.

‘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.

I think this article highlights that the power of truly heartfelt emotive art should never die.


le Renoir Surérogatoire

‘Luncheon of the Boating Party’ [1880 to 1881] by Pierre-Auguste Renoir, Oil on canvas, 51.26 in (h) x 69.13 in (w).

Continuing my tradition of providing Wikipedia links for artists, here is a link to the page of renowned French Impressionist painter Pierre-Auguste Renoir:

For an interactive image ala ‘Luncheon of the Boating Party’ please click here and hover your mouse over the people in the painting:

Interlude.  I will return to writing this article after eating some much needed food and drinking a lovely cup of tea.  Sorry, Renoir’s painting has made me hungry and I simply cannot write another word after this one.

I wish my thoughts to flow satiated as I am.  Renoir’s work is precise, pastel-soft at times, spontaneous like eating, romanticized, prettily arranged and sometimes pre-Renaissance and/or pre-Raphaelite in style.

Pierre-Auguste is capable of realist depictions wherever he felt the subject material became ameliorated.  We see examples of this in his portraits of Claude Monet and Alfred Sisley, elevating their dignity and social standing.  Quite likely Renoir ‘clung to them’ with strong regard.

At this latter well known saying I thought immediately of Michel de Nostredame [Nostradamus –] and his distinctive oddities.

‘If a meteorologist predicts troublesome weather, for thoust seeth through eyes that you do not see – do you then say that the meteorologist is a god bringing it upon you?’

Eau de toilette.  It seemed strange for me to write this spontaneously until I then quickly read:

“Painting must not stink (purr) of the model and one must, neuertheless, smell (sentir) nature in it.” – Pierre-Auguste Renoir.  Quotation online in Bodies of Art: French Literary Realism and the Artist’s Model” by Marie Lathers.


I wish to talk about ‘Luncheon of the Boating Party’ [1880 to 1881] by Pierre-Auguste Renoir.

The interaction between the characters is truly exceptional by any normal standards of paint art working.  Care, observance, ponderance, yearning, aloof inexperience, nervousness, mutual co-equal friendship, comfort, serious business discussion and guarded affection from others. __________________________________________________________________________

Thoughts arriving like the Sun at its travelling.  My brain is acting gregariously with a multitude of thoughts as I type.  Renoir’s artworks are enlivening my inspirations so I shall share a new saying from last night inspired of an ancient saying:

‘That we are travelling with the Sun at great speed in all four directions, actually seven, is insight beyond my comprehension at this time.’ – by Matt The Unfathomable Artist, September 2017.




‘Study of a Seated Bather’ [1897] by Pierre-Auguste Renoir features a dainty composition of a model bathing nude, shown immediately below:

‘Baigneuse Assise. Study of a Seated Bather.’ [1897] by Pierre-Auguste Renoir, Original softground etching in black ink [1897] signed with the artist’s signature stamp Also signed in the plate. From the edition printed by Louis Fort for Renoir (circa 1910). Edition first issued by Vollard to accompany the album: ‘La Vie et l’Oeuvre de Pierre-Auguste Renoir’, Paris 1919, On light cream wove paper. Sheet: 12 1/2 x 9 1/4ins. Plate: 8 5/8 x 5 3/8ins (220x137mm).

I enjoy all his nude artworks.  There is nothing more honest, intimate and natural than the naked human body as an artform.  Intimacy need not be brash, disrespectful or undignified.

Respecting the beauty of the human form, its near miraculous function and the emotions we feel through our bodies begins as a true gift.  The nakedness at birth.

The idea of birth brings me to the next painting, shown here:

‘Pink and Blue – The Cahen d’Anvers Girls’ [1881] by Pierre-Auguste Renoir, Oil on canvas, 119 × 74 cm (46.9 × 29.1 in).

The pensive almost lost-looks upon the girls faces is a glorious masterpiece within ‘Pink and Blue – The Cahen d’Anvers Girls’ [1881] by Renoir.

The sisters are trying to appear comfortable holding hands.  Alice Cahen on the left resting a hand upon her ribboned belt, no doubt tired from posing.  Her sister Elisabeth imagining her smile as best she can from quite sometime ago, I expect, as they patiently stand in complex finery.

They are so sweet.  Each expression a breath-takingly triumphant replication of life by the painter.

Quite Beyond Words.

Let’s take a look at ‘Pont-Neuf’ by Pierre-Auguste Renoir, shown below:

‘(le) Pont-Neuf’ [1872] by Pierre-Auguste Renoir, Oil on canvas, 74 cm × 93 cm (29.1 × 36.6 in).

It’s always very difficult to choose artworks for my page, however, I usually select spontaneously the paintings that appeal to me personally in some way.  If I wrote an article on a different timeframe a different painting would likely be presented.

We’re all influenced by mood and learned coincidence.

English artist L. S. Lowry must have loved this painting, well, I do hope he did see this artwork.

The symmetry, lines and perspective in ‘Pont-Neuf’ make this one of the most perfect cityscape paintings I’ve seen.  As a comparison of styles from the late 19th Century Impressionist Era to Contemporary early-21st Century artworks I would encourage you to view Titus Agbara‘s cityscapes:

‘Sunday Morning at Kessington Park Road’, also

‘Cambridge Circus – Where Thoughts Meet’ and his four-hour completed artwork of Scotney Castle as appropriate for this article, here:

Renoir is to French Impressionist art as Titus Agbara is becoming to Nigerian Contemporary art.



Pablo Picasso The Realist

‘Portrait of Olga in an Armchair’ [1917-18] by Pablo Picasso, Oil on canvas, 130 x 88.8 cm.

Viewing ‘Portrait of Olga in an Armchair’ by Pablo Picasso tells us one thing immediately..

.. Picasso could paint especially beautifully.

‘Still Life with a Pitcher and Apples’ [c1919] by Pablo Picasso, artwork on paper.

Picasso was sensuous and humorous, see ‘Still Life with a Pitcher and Apples’ by Pablo Picasso, above.

‘Still Life with a Pitcher and Apples’ [c1919] by Pablo Picasso, artwork on paper.

Picasso was a perfectionist, determined to change perspectives and produce art his own way.

Another example of ‘Still Life with a Pitcher and Apples’ [also c1919], shown above, provides rays of his artistic style.  Picasso didn’t view the world the way non-artists do.  Everything exuded personality and uniqueness.  He loved to turn the ordinary into curiosity.

Picasso couldn’t have been ordinary even if he tried his very best.  He had the quality of human magnetism through exceptional gifts of persona and talent.

‘Still Life with Compote and Glass’ [1914-15] by Pablo Picasso, Oil on canvas, 63.5 x 78.7 cm (25 x 31 in).

I can look at any year of his artworks, just as I did in choosing ‘Still Life with Compote and Glass’ [1914-15]  to pick out any artwork.. and look!.. it’s a masterpiece.

If you would like to read more about Pablo Picasso, please do so here:

‘It is that glass library with a man walking about appearing and disappearing throughout intervals of Time.  Telling you all the facts and details of human history, holographically as your kindred spirit, by the use of one indefinite Supercomputer.’

by Matt The Unfathomable Artist, 24th August 2017.


a most mysterious ‘FMR’ artwork

As yet to be verified ‘FMR’ painting [with accompanying writing and photo placed within the frame] – 20 cm x 15 cm.

To appreciate my latest blog article whilst dining on a belly full of edible delights from the sea, please firstly read an earlier blog I posted April 2016 about Mr FMR, here:

This photograph of a painting (or print) shown above with the signatory ‘FMR‘ came to me by way of a blog reader.  Incredibly they had this ‘FMR’ artwork in a frame as yet waiting to be identified.

I almost couldn’t believe it, however, I need more information to confirm the artist.

My artist relative ‘FMR’ had most definitely painted an umber coloured boat in a previous pastel entitled ‘Swan Lake’.  I’ve carefully kept a printed card of ‘Swan Lake’ and may publish this on my blog in the future, along with further artworks by Frank Malcolm, Jnr.

Please take a look at two additional pieces of this provenance puzzle:

Handwriting on the back of the artwork shown at the top of this blog article.

The handwriting is in the style of the period.

Accompanying the painting, hidden inside the frame is a photograph of a lady, here:

Faded monochrome photograph of a lady hidden inside the frame.

I do have useful ability at handwriting analysis from the personality perspective.  However, assigning handwriting to a particular person for the purpose of identification is not my professional forte.

Presently I cannot ascertain the identity of the lady in the photograph.  Although it would be reasonable to believe it has connection to the artist.

We all love a mystery and personally I’m excited to receive information of possible Frank Malcolm ‘FMR’ artworks.

In my living room an original framed printed greeting card entitled ‘Sunset Over Lake Kariba, Zimbabwe’ signed by FMR takes pride of place on a table.  Again, I shall publish this artwork in a future blog.

I’m in the process of establishing whether my relative ‘FMR’ produced reproductions.  Clearly seascapes and landscapes feature strongly in his portfolio of work.

Original paintings, cards and prints of his work is of great interest to me.  Please send me a WordPress message if you see any further examples of his artworks.

Thank you – I shall post up-to-date news following on from this blog article as soon as I find out anymore.


The Tyger, Lion, Wolf and a Boy

My Dad was presented with ‘The Jungle Book’ as a reward for becoming Top Boy at his school on his first teenage year.

I also became Head Boy of my school at around the same age.

It’s fair to say he loved this book and the musical animation of the story.  Interestingly his favourite poem was ‘The Tyger’ by William Blake – no coincidence.

A copy of that poem, in artistic form, is here to read:

Copy A of Blake’s original printing of The Tyger, c. 1795. Copy A is currently held by the British Museum – courtesy of Wikipedia.

Here is a photograph of my Dad’s originally presented ‘The Jungle Book’ by Rudyard Kipling:

Opened book cover photograph of ‘The Jungle Book’ by Rudyard Kipling 1955 edition, presented to my Dad on becoming Top Boy at his school.

Here is the front cover of a school project I produced in the year I also became a teenager:

‘World Safari’ A4 paper cover page art, school project by Matt, pencil & orange crayon – during my first teenage year.

Practice makes perfect.


Gu Kaizhi The Sequel

Please take a look at Wikipedia’s Gu Kaizhi page here:

Gu Kaizhi is described as a Royal Officer, poet, painter, calligrapher and prolific art writer of the 4th and 5th Century C.E (c. 344–406).  Of the clan Gu, raised in the Wuxi, Jiangsu district.

Lu Tanwei, his latter art contemporary (circa late 5th Century), painted murals whereas Gu Kaizhi crafted his works almost entirely on scrolls.

Whilst writing I’m keen to read the ‘Shishuo xinyu’ [A New Account of the Tales of the World] dated circa 430 which provides further historical legends and factual commentaries about hundreds of early Chinese writers, painters and musicians including, I understand, Gu Kaizhi.

Modern era painter Maeda Seison spent fifty days in the British Museum sketching and copying The Admonitions Scroll as a painting exercise of its [original] mastery.  Please see pages 12 & 13 of the following online pdf for further details:

– Courtesy of The Admonitions of the Instructress to the Court Ladies Scroll by Kohara Hironobu.

Reverence for Gu Kaizhi and his work is genuine and sufficiently documented.  Historical writings of Kaizhi show him as an empathic, emotional, articulate, intellectual and deeply respectful person.

Due to language barriers I’m not able, through internet searches, to find as much information as I’d like about Gu Kaizhi as a person and artisan.  Without question I also require further information about Zhang Hua (232–300) –

and Cao Zhi (192-232 CE) –

Cao Zhi wrote ‘The Nymph of the Luo River‘, describing the nymph here:
‘Her body soars like a startled swan
Gracefully, like a dragon in flight,
In splendour brighter than the autumn chrysanthemum,
In bloom more flourishing than pine in spring;
Dim as the moon mantled in filmy clouds,
Restless as the snow whirled by the driving wind.
Gaze far off from a distance:
She sparkles like the sun rising from the morning mists;
Press closer to examine:
She flames like the lotus flower topping the green wave.’

‘Hylas and the Nymphs’ by John William Waterhouse immediately sprang to mind, one of my all-time favourite paintings.

Ancient oriental poems and paintings sharing themes of folklore with Western culture is deliciously fascinating.  Having recently viewed ‘The Great Wall’ [2016] starring Matt Damon, our appetite for myths and legends cannot ever be satiated.

Watching along with Willem performing ‘You can visibly see that stone floors prevent not the curtain nor Heights the Depths.’

Happily Ever After just like ‘The Highlander’ [1986].

I would love to see a verified original Gu Kaizhi painting in its likeness as we see here:

‘There Can Be Only One’

– by The Unfathomable Artists


The British Museum featuring Gu Kaizhi

British Museum copy of Gu Kaizhi’s scroll entitled ‘Admonitions of the Court Instructress’ originally dated from the 5th Century C.E.

I’m currently studying Gu Kaizhi’s life and works.  However I wanted to share some of the artworks accurately attributed to him in this article.

‘Goddess of the Luo Shui’ [scroll] originally attributed to Gu Kaizhi.

‘Admonitions of the Instructress’ shown below with expert analysis (please click the hyperlink) :

‘Admonitions of the Instructress to the Palace Ladies’ originally by Gu Kaizhi – a section of the first scroll (shown above).

Further information about the Admonitions Scroll can be read here:

I have particular interest in ancient paintings, poetry, calligraphy and scribal writings from China.