Immemorial Words by William Shakespeare

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’ poem

‘Revolving Stars’ [c2005] by Ignotum Est Artifex, ink pen with the untrained 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.’

To finely balance this blog you might like to read of further religiosity here:

Also evolutionary ‘Artforms of Nature’ by Ernst Haeckel, here:

Scientific art ideas, here:

Thank you for visiting my art blog.


Élisabeth Louise Vigée Le Brun

‘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 –

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.


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:

‘Portrait of Madame Du Barry’ [1781] by Élisabeth Louise Vigée Le Brun, Oil on panel, 27 1/4 x 20 1/4 inches (69.2 x 51.4 cm)

I decided to include ‘Portrait of Madame Du Barry‘ for.. the.. straw.. hat.  Spoken rather slowly to imagine my awe.

Artistic painters enjoy certain textures.  A past article about woven textural specialist Guiseppe Arcimboldo illustrates my point here:

Madame Du Barry wore a peignoir for this particular sitting, a dressing gown.  The painting was commissioned for the Duc de Brissac, Louis Hercule Timoléon de Cossé-Brissac [] according to the artist’s ‘Souvenirs’ 1835-37.

Further information about the artist can be found by reading ‘Vigée Le Brun’ by Joseph Baillio, Katharine Baetjer, Paul Lang.

Madame Du Barry has her visual identity stored for us upon the canvas, and also digitally too.

Should we call this a UI or a Unique Identity?

Cue trailer.


Artemisia Gentileschi The Baroquess

‘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: 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.

Only death now seems to be at peace following the previous painting Act scene #1 of ‘Judith Slaying Holofernes’ [c1614-20] by Artemisia Gentileschi, here

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 millionDanaë‘ masterpiece sold January 2016.

His ‘Danaë‘ painting here:

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:


The Instinctive Tom Watt

‘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:

That you’re reading this article.. you will become a Tom Watt fan too.


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.