Almighty painter

Chapter 212 Gu Weijing and Sakai Katsuko (please ask for a ticket!)
Gu Weijing also tried to use his hands a little bit, kneading the surface of the linen canvas with his fingertips, and the rich tactile sensation came from the skin of the fingertips.

He can feel the paste-like paint continuously penetrating deep into the canvas under the pressure of his fingertips, and mixing with other paint coatings around him.

Gu Weijing also has a similar sense of touch when he draws with knives and knives.The difference is that the sensory ability of the finger skin to the paint directly contacted is much more sensitive than that of a metal oil painting knife.

The receptors on the skin are in zero-distance contact with the pigment through a layer of medium, and the feeling is completely different.

Under the feeling of fingertips,
The texture of oil painting is no longer a visual vocabulary, but has become a richer tactile vocabulary, and it can also make the color layer of the paint extremely thin.

"Shengzi, do you think it's better to use the index finger or the thumb?"

"I like to use my index finger. The thumb also has advantages. The area in contact with the skin is larger, and the pigment can be squeezed more dispersedly with the same force."

"Makes sense... really smart."

"Uh, Gu Jun, did you ever paint fingertip gouache when you were a child? It's just painting gouache with your fingers dipped in paint. The fingerings of these two painting methods are actually the same. It's just that oil paint is more 'elastic' and more plastic. Strong, but a little softer with your fingertips."

"No, is it fun?"

"Yeah, when I was in kindergarten, I thought it was quite interesting, we can try again when we have time..."

"..."

Gu Weijing tried to use his fingers to over-highlight the gradient color, and Ms. Sakai was beside him, exchanging opinions with him.

The atmosphere is very pleasant.

After dealing with several different colors, Gu Weijing felt even more the advantages of combining the finger painting method and the new body painting.

However, when he appreciates the oil painting texture on the surface of the canvas, it becomes very interesting and unique.

Gu Weijing looked at his colorful fingers, and gradually understood why the pioneers of "New Body Painting", those Qing court painters, could not think of such a suitable way of improving painting.

It's not just a matter of artistic technique,

It's more a matter of painting the scene.

Gu Weijing cuddles with the soft girl like this, you point your finger, I point your finger to draw, it looks warm and interesting, it seems like a date.

But if it was replaced by a little old man wearing a senior official's robe, smearing on the canvas with his fingers, the scene suddenly became weird.

When Titian, Turner, and Leonardo Da Vinci painted, they could all see many traces of smearing on the works with finger-assisted brushes.

But Castiglione, who was similar in age to them, even a lot older than them, never thought of this way of dealing with excessive color.

Not necessarily a lack of creativity.

Art is an appendage of power—no matter how much Gu Weijing dislikes this sentence, he must admit that this sentence has a certain truth from ancient times to the present, in both East and West.

In human history, the aesthetic taste of the upper class has often determined the vane of the art trend of an era.

Impressionism went from heresy to being gradually recognized by the world, and then replaced their old enemy "academicism" to become a prominent school in the painting circle.

The iconic event is that Impressionism was recognized by the wealthy class in the New World America without the constraints of secular traditions, which in turn affected the aesthetic tastes of Paris and even the entire continent of Europe.

And in the East.

After the Song Dynasty, the paintings and calligraphy of Dongxia paid great attention to literati taste.

It is an aesthetic tool for literati to cultivate their sentiments.

simply put,
Not only does the picture look good, but the process of painting also requires the painting to be handsome and elegant enough, and even the most basic manner of holding a pen has a lot of attention.

Gu Tongxiang had told him in detail when he was a child.

To really pay attention to the use of traditional Chinese painting brushes by great painters, it is necessary to "moving the wrist without moving the finger, with the wrist and elbow hanging, and the whole body must be exerted when writing."

This one-on-one painting method is called "Dragon Eye Method".

But when drawing and writing, if the body moves, the whole body shakes up and down, which can only be the inferior [pig's trotter method], which is ridiculed by literati and officials.

According to the records in the chapter "Chupin" in the famous book "Coral Net" compiled by Wang Keyu, a bureaucrat who was a great calligraphy and painting collector in the Ming Dynasty.

This method of using brushes in painting and calligraphy was obtained by Cai Yong in a dream entrusted by a god, and passed on to Cai Wenji, who passed it on to Mrs. Wei, and then passed it on to Wang Xizhi, Wang Xianzhi and dozens of people from generation to generation. It flourishes in the hands of others.

Eastern Xia culture pays the most attention to rules, and the most basic pen-holding posture is passed down from generation to generation of literati.

It is true that Castiglione is a foreigner, but he is fundamentally different from small painters like Da Vinci and Titian who mainly serve wealthy businessmen.

Small native European painters are still servants and vassals of the nobles and priests.

Lang Shining's family finally achieved the third rank and was added the title of servant. He should be one of the highest officials in human history who rely solely on painting.

Zhu Zigong, who is very serious, should pay attention to decency in painting.

In addition,

Emperor Qianlong was also a super fanatic of art, stamping madman.

During the ruling period, only the various works of art collected from the people and collected in the warehouses of the Forbidden City that were accurately recorded in the "Shiqu Baoji" required tens of thousands of pieces as the calculation unit.In the daily life record, the emperor would go to the painting academy for a few laps every three days, or order the painter to enter the hall to discuss painting issues with the saint.

think about it.

The emperor wants to discuss art and painting techniques with you. If you bring out the altar of paint and roll up your sleeves, it is obviously too indecent to ask Long Live Lord to paint your fingers in a mess and colorful with you.

"Shengzi, you created a new picture effect."

Gu Weijing recovered from the divergent thinking, he looked at the canvas, a little embarrassed to take it as his own, "This kind of improvement in painting is very rare, you..."

"It's not so exaggerated. This is your painting method. I just wiped a few fingers on it based on my intuition."

Sakai Katsuko smiled and interrupted the other party.

"A lot of times art is like this. Jumping out of the original thinking limitations and looking at it from a different perspective, it is easy to have an idea. You can't think of it just because you are a painter. If we change positions, you can also think of it." She sipped Talk with your mouth.

Epiphany?
Gu Weijing smiled wryly.

The so-called epiphany is always the exclusive prerogative of genius.

Su Shi was able to integrate the power of calligraphy into the style of traditional Chinese painting in a flash of inspiration.Jan van Eyck was able to improve tempera painting into oil painting in a flash of inspiration. The flash of inspiration of geniuses is the limit that mediocre people can't touch in their lifetime.

Sakai Katsuko said it lightly, as if all she did was look at it for a few minutes, and then rubbed it with her fingers.

The difference between them is the difference between seeing "water vapor pushes the lid off" and thinking of "inventing the steam engine".

Some people are born to eat this bowl of rice, relying on natural intuition is enough to reach the top of the pyramid.

Under their bright brilliance, others can only feel that they are small.

Gu Weijing's talent is actually not bad, but compared with Sakai Katsuko's sensitivity to art, he feels that without the help of the system, he is nothing.

He felt a little lost.

"Changing positions, can I really think of it?" Gu Weijing asked himself softly, as if asking a scumbag who cheated to get next to the god of learning.

"In the autumn of 1865, Manet, who had already become famous, participated in a French art exhibition with a competitive nature. In the same year, growing up in the little-known city of Havre in the French province, Monet, who was still unknown at the time, also Participated in this art exhibition. This is the first encounter between the two masters in the documentation."

Sakai Katsuko noticed the inadvertent disappointment on Gu Weijing's face.

After thinking about it, the girl opened her mouth softly.

"Ok?"

Gu Weijing wrinkled his nose.

He didn't understand why Sakai Katsuko suddenly changed the subject and talked about something that had nothing to do with them.

"This afternoon, when I was giving Jasmine an art history appreciation class, this story was echoing in my mind."

Sakai Katsuko put her round chin on Gu Weijing's shoulder and whispered in his ear.

"In history, the first meeting between Manet and Monet was not pleasant. At that time, Manet's reputation was much greater. The family backgrounds of the two were also very different. Monet was not a poor class, but he was just a small businessman. A child. Manet, whose father is the Chief Justice of the French Ministry of the Interior, doesn't think much of Monet, a country boy from a small place."

Sakai Katsuko ignored Gu Weijing's doubts and spoke eloquently.

"But soon, Monet's amazing talent, charming brushwork and rich picture expression quickly aroused Manet's curiosity."

"The more he got to know Monet, the more he was attracted to this young man. There is no accurate record of what happened during this time. It is only known that, after just one year, Manet invited Monet to join him in the Paris Gathering. The party circle of his intimate friends at the Café Erpois."

Katsuko Sakai deliberately paused for a few seconds, looked at Gu Weijing's side face, and said: "Later generations can learn from a painter named Bazille who also belongs to this small circle, and his painting was written in 1870. In the painting called "The Studio" created in [-], we get a glimpse of the close relationship between Manet and Monet. In this painting, Monet, holding a pipe, stands in front of a painting, contemplating, while Manet stands Behind him, a hand on his shoulder."

Gu Weijing's heart skipped a beat.

He now knew what Miss Shengzi meant when she mentioned this matter in his ear.

Gu Weijing had also seen the famous painting "The Studio" by Bazille.

In the room on the concrete floor, there are golden picture frames of different sizes, and scattered men form several small groups, exchanging their views on art and art.

The two friends of Monet and Manet are the closest couple among them.

A bit like the current him and Miss Sakai Katsuko.

Certainly there is no physical closeness and emotional ambiguity between them.

but,

Bazille still subtly captured the expressions on the faces of the two people.Monet was smoking a pipe, looking at the picture frame in front of him in thought, while Manet held a cane behind his back and leaned on his shoulder, standing beside his friend.

Sunlight streamed through the dark draperies and from the huge picture window beside them, illuminating their cheeks.

Anyone looking at this painting will realize that the two men have become very good friends.

"From that time on, the two of them have been lifelong confidants and best friends. In Monet's poorest years, Manet provided him with housing and painted with him, and Monet in turn influenced Manet. Manet. Manet’s brushwork in his life is full of impressions related to Monet. In addition to the "Monet Painting on a Boat" that I showed Jasmine, the famous works also include "The Monet Family in the Garden". Under the influence of Monet, he began to adopt brighter colors and use smaller brushstrokes, and the style of brush and ink became colorful."

Katsuko Sakai took Gu Weijing's hand and said slowly: "Many years later, Monet has achieved great success. When Manet died of old age, he was so sad that he was about to faint. He put down all the work at hand and started again. After returning to Paris, I personally carried the coffin for this friend and buried him in the Passy cemetery outside Paris."

"Monet & Manet, I can't help but think, the meeting of these two masters whose names differ by only one letter is really similar to us... Of course, I have never looked down on you from the moment I saw you. This I have a better eye than Manet."

Sakai Katsuko smiled playfully, and she cutely blew into Gu Weijing's ear holes.

"Monet's early works were somewhat immature and childish, and were also criticized by critics for lack of artistry. He even needed to make a living by drawing caricatures for local newspapers, which are not considered serious art at all." Ms. Sakai said, "But as long as you give him the right soil, he will bear flowers that make the whole of Paris breathtakingly beautiful."

"When my mother was a student, she always called my father 'her Byron', so in my heart, you are 'my Monet', and I believe that one day you will create works that will shock the world's painting circles , and please believe in yourself."

Sakai Katsuko embraced Gu Weijing with both arms from behind, and said slowly: "We are now telling stories about Monet and Manet in this small studio. A century later, Two centuries later, when we are all gone, there may be young and beautiful young people standing under the stars, looking forward to the story of the lovers Gu Weijing and Sakai Katsuko.”

"I remember telling you about the painter's eternal life. I think this is another kind of eternal companionship, what do you think?"

Gu Weijing's breathing stopped.

Miss Sakai is the most charming girl he has ever seen.

Although she has exquisite facial features and a plump figure, she has all kinds of amorous feelings unique to Eurasians, and even smells like soft and sweet strawberries all over her body.

But after getting along with each other for a long time, Gu Weijing would always easily forget her amazing beauty.

Some people's charm is the temptation of the skin, but Ms. Shengzi exudes the romance from the deep soul.

Ms. Sakai is so young, but when she talks about her imagining a century later, about the story of eternal life companionship, her tone is solemn and solemn like a monk.

Following the delicate voice of Ms. Sakai Katsuko,
Gu Weijing traveled through the long river of time, slowly imagining the world in the girl's mouth.

He seemed to have really seen two paintings signed [Gu Weijing] and [Katsuko Sakai] next to each other in a brightly lit art gallery many years later.

A girl who whispers stories about Manet and Monet in your ear to comfort you, even if she has rough skin and plain facial features, boys can't help falling in love with her, right?

(Ask for a ticket at the end of the month!)

(End of this chapter)