Almighty painter

Chapter 494 Insight
After thinking about these troubles in his mind for a while, Gu Weijing returned his attention to the drawing board next to him.

He walked back.

Pick up the brush again and continue the copying you just interrupted.

At one o'clock in the morning, Gu Weijing was awakened by the thunder in the sky. He tossed and turned and was unable to fall asleep.

He has been very busy lately.

I found that after the thesis writing has come to an end, the frequency of copying of Carroll's paintings is not as high as before.

Since it was so noisy that I couldn't sleep, it also rained heavily.

Gu Weijing thought it would be better to get up and think more carefully about the details of the picture.

Perhaps looking out the window at the low thunderclouds hanging on the river, he was moved by the scene, and he could think more about the small details of the female painter's brushstrokes, and he could also pick up the treasure box.

Impressionist works using impasto painting do not take too much time to paint.

The handwriting of a famous artist, the work of a master.

Gu Weijing didn't feel anything special, and it was even a bit boring.

After the painting was carefully cared for and maintained, floating dust was washed away, and some cracks in the paint caused by improper storage were removed as much as possible.

He also jokingly laughed at Shengzi, quoting this kind of words is like quoting those unnutritious success guides——

"Old Church on a Thunderstorm Day" is such a work about "ideas".

It seems to be a gray and plain-looking Buddha and Bodhisattva sculpture in a cave niche on a stone wall. It looks simple and simple, but there is Zen in it.

After all, AHCI papers are different from pure science and engineering papers, and art papers are also different from papers in the archaeological field. There are not so many documents to cite.

At that time, Shengzi just pursed her lips, tilted her head and thought for a while, then looked at the drawing of "Old Church".

At first, I just quoted some general principles in the paper to enrich the article itself.

The brushwork is magnificent and the color is fine and smooth.

It is not like the 20 yuan worth of a whole book of success quotes that I assert.

But there is no blind pandering and obedience.

In the same way, a "gold medal" lecturer can speak 10,000 words into the microphone in one day, and the audience seems to be enlightened and burst into tears, but in fact they gain nothing.

But as Gu Weijing copied "The Old Church on a Thunderstorm" more and more times.

When everyone writes a paper, they have to quote a few words from famous quotes.

Everything he writes is not simply drawn, but grows out of his ideas.

Finally, she smiled and said to him, "Well, maybe you are right, but I think there is still something different. These words are quite interesting. They are about the 'heart'."

The faster his skills improve.

When reading this quote from Ms. Sakai.

Plus, after all, you have to imitate more, and practice makes perfect.

The main subject of the scenery on the canvas in front of Gu Weijing has been roughly formed.

Combined with his insights from the copying process, Gu Weijing found that the vague summary that sounded ordinary at the time more and more interesting.

Now it is time to faintly reveal a less obvious fish belly white in the dark clouds on the distant horizon.

When we get along with each other, Ms. Sakai is a girl who will hold you up like water.

Only then did Gu Weijing realize that he, who was mocking his girlfriend with confidence at that time, was the truly innocent one.

True.

It is also a very complex painting on a technical level.

Quite the opposite.

Gu Weijing listened at that time and was not distracted at all.

It suddenly became a very beautiful piece of work.

Written at midnight.

It seems thorough, but in fact it is empty.

If Katsuko hadn't tilted her head and smiled so beautifully, he might have completely forgotten about this matter.

"The essence of the so-called impressionist painting is to learn to think in an artistic way." - When Gu Weijing and Miss Sakai were writing a paper together, they once quoted a sentence written by Monet in a letter to a friend.

Like flowers scattering from heaven.

It’s hard to say whether it’s about the philosophy of ‘heart’.

In discussions about artistic concepts, Shengzi would never accuse Gu Weijing of being too vulgar or not sentimental enough, or try to forcefully correct the differences between his ideas and his own.

That feeling of hundreds of color dots and brush strokes melting into one.

It seems that the tangible world is slowly being nurtured by black and white, red and blue, light and dark, these abstract elements.

Anyway.

The feeling of impressionism in painting always has a wonderful sense of chaos, and the "real world" technique of trying to make even the smallest water wave exactly the same as in the photo, are like two different ways of thinking.

These complex and exquisite details of playful brushstrokes are as exquisite as the hundreds of hairsprings, gears and dialing needles in a fine Swiss complex mechanical watch. They overlap layer by layer and support the flow of the entire painting.

From the perspective of the audience, it is similar to the words "old and simple".

Not even a dime of relationship can make a difference.

however.

After Gu Weijing had a deeper understanding of the painting, he gradually realized that the most attractive aspect of the technique was not the colorful streamers of thunder clouds, the complex changes of candlelight, or the mottled weathering of the church masonry. Accurate portrayal.

It is not because of the "fun" of technique - such vulgar things, that it becomes so charming.

It is the kind of bold use of brushstrokes in painting that overflows with confidence and magnanimity.

Gu Weijing slowly began to realize it.

Everything in the picture, in the eyes of Carroll a hundred and fifty years ago, must not be simple real objects, but abstract objects composed of brightness, color and lines.

Wind, rain, candlelight, church...

She saw through all these expressions their shapes, lines, values, and colors.

I saw their light and shadow, wetness and dryness, the plant roots contained in the soil under the heavy rain, and the fresh smell that will burst out of the ground in the next spring.

All this cannot even be summarized by simple beauty and ugliness.

Because whether it is "beautiful" or "ugly", there is no standard summary, it only depends on one thing. Flowers in bud that are ready to bloom can be boring and mediocre in the eyes of busy people, but an old woman with a wrinkled face and missing teeth can still be breathtakingly beautiful, alluring and peerless in the hearts of those who truly love her.

All she saw was existence itself.

In the mutual confrontation of time and space, in the green mountains and plains of southern Yunnan, the Irrawaddy River flows from one thousand years to the next, and the delta plain is formed by the accumulation of sediment carried by the eternal river water for thousands of years. Above, the lines and colors that make up this small world.

All the scenes a painter can create.

Simple and very simple.

Because whether the author of the creation is Old Man Gu or Gu Kaizhi, Grandpa Wu playing chess, Wu Daozi who painted "Eighty-seven Immortals", Lao Bi who opened the grocery store next door or Picasso, they are all just a combination of brushstrokes and paints. It’s just something that comes out, no one is an exception.

And profundity can be endlessly profound. Because brushstrokes and colors are never just a simple arrangement and combination, but a technical atmosphere, a kind of thought, and a way of expressing the world.

What the audience sees is not just a church or a candlelight, but a clever combination of value and line.

Carroll did not draw them with a pen, but suggested them with the "correct" shape, value and color that suited his mind.

It gives the viewer the artistic atmosphere she wants to express - the solemnity and simplicity in the thunderstorm in the church, or the warm and refreshing light of candlelight.

This kind of free-wheeling technique, which conveys the magical atmosphere of bonding brushstrokes on paper, is called "master's temperament".

And this abstract way of looking at the world—

It's called Impressionism.

When you learn to observe the world from an abstract perspective, you will find that they are not superficial shells or simple things, but the underlying structure of the art world built from warm and cold tones, color temperature, and brightness.

You will realize that technique is not only about technique, but also about thinking and awareness.

When you see fire, you think of red, you think of heat, you think of light and the shadows that light brings.

So for the Impressionists, if you master this artistic way of thinking, you will really have one foot in the door of the palace.

From now on.

What you draw is no longer "Dharma", but "Tao". Without the complicated brushwork itself, can you still capture the aesthetic origin of everything in the world, and capture the essence with just a few strokes?

This is the subtle but fundamental difference between the techniques of true masters and the polished and excellent brushwork of "ordinary" excellent painters.

Same way.

Not only Impressionism, Cubism, freehand ink painting... countless great painters from the East and the West. When the depiction of shapes and the honing of line skills reach a high level, many people's painting styles will change from "shape-drawing" to "freehand brushwork". "Change in direction.

This may be the reason.

Carroll's works are really full of feeling, with a kind of publicity and warm emotion, and confident expression.

Things have no beauty or ugliness, no shape, they just exist.
And she gave these scenery shapes arbitrarily, so these scenery took on shape and soul in her writing.

Just as Miss Katsuko said——

This is an aesthetics about "heart".

Gu Weijing turned his head and looked out the window, and lightly dipped the tip of his pen on the palette. The close-up view of the church under the rain and fog that he was painting added a touch of coolness.

You have to shake your head slightly.

When Katsuko Sakai noticed something interesting about that sentence, they had not finished writing their thesis, and Katsuko herself had only been exposed to the "Old Church" for a short time.

But I feel something in my heart.

Comparing it with the inspirations written by the seniors, in an instant, I could vaguely sense the true meaning of the realms of the masters.

It was here that I painstakingly painted twenty copies of the works, and then slowly, bit by bit, I found out the meaning hidden under the surface.

He is indeed an ordinary layman.

Not only does she play tennis, Katsuko can beat him three times with one hand.

In terms of intelligence, intelligence, and clear mind, a girl as smart as Sakai Katsuko can beat him five times with one hand.

Put it in fairy tale novels on the Internet.

Miss Sakai must be the kind of "innate impressionist holy body" with immortal spiritual roots, while someone like Gu Weijing can only be an outer monk of Five Elements Mixed Inspiration.

I had no choice but to rely on adventure encounters and constant downhill experience to polish my mind up bit by bit.

"This is a good joke. I can share it with Shengzi the next time we meet. I don't know if she will smile or if she will seriously open her eyes, hold my hand, shake her head and say I am great. of."

Think of this.

Gu Weijing smiled freely.

His understanding is not as good as others, so he just accepts it.

How can everything go as planned in life? In his case, in terms of improving his technical proficiency, he is naturally far ahead of most people.

Besides, his talent is not good.

It was only relative to Miss Katsuko, his girl was awesome, how could he be so stingy and jealous?

If ordinary people practice more, it will be fine if the stupid bird flies first.

I lack a bit of natural understanding and draw more. Is it possible to draw a different feeling?

"Really, I don't need to praise Katsuko. This painting is really good. It's starting to look a bit like Carroll's original work."

Gu Weijing glanced at the collapsed canvas on the easel in front of him and commented.

The more times he painted, the more he gradually grasped the context of the "artistic observation" way of thinking.

It's hard to have everything go your way in life.

It’s also hard not to have everything go your way.

Yesterday's heavy rain made Gu Weijing unable to sleep in the middle of the night, but it also gave him the blessing of the environment outside the window, and he painted the most expressive painting similar to the original in these days.

He even began to notice the underlying aesthetic designs hidden beneath the thick paint.

For example, the thunderclouds in the distance, a few bricks on the roof of the church, and the night rain and fog in the distance are almost integrated into each other, the slightly undulating hills, and two locust trees that are not as strong as in recent days.

Although these scenes are all different objects and even have different colors, the brightness of each color block of the overall paint is very similar.

So in terms of mastery of techniques.

These scenery can be completely connected into one, and the overall painting context should be consistent.

But contrary to this large scenery.

The continuous road in the lower right corner of the picture, even though it only occupies a very, very small part of the entire work, it is a whole road.

But because of the sky and the scattering of candlelight, Ms. Carroll actually put a lot of thought into the difference in brightness during the painting process on this path.

She probably used aerial perspective, using the depth of field effect of water vapor particles in the rain and fog, to distinguish several layers of the path.

The paint shades look similar.

Not only the brightness, but also the color temperature has a carefully designed continuous change.

This is when Gu Weijing was painting this time. He happened to see the heavy rain outside the window, and then he noticed the subtle changes. Just a little change can add a lot to the final effect.

otherwise.

Just like before, using almost the same dark paint, if you continue to paint this path, it will look muddy and chaotic.

Rather than the refreshing feeling of pebbles blown away by heavy rain in Carroll's painting.

at last.

When the sun rises in the east and the sky is completely bright.

Gu Weijing made the last stroke of this copying, and relevant prompts came up from the system panel.

[Congratulations, the similarity of this copying is: 73.2%]

[You have just entered the art insight and have a certain understanding of the composition rules of objects. Oil painting techniques +721. 】

(End of this chapter)