Almighty painter

Chapter 522 On Painting
Gu Weijing stared at the painting "Girl Reading Poems for Cats" by Miss Sakai in front of him.

I was silently comparing the works prepared by the two people for the Singapore Biennale in my mind, and the advantages, disadvantages, similarities and differences of each.

Those red, burning, shadows and leaves that seemed to be vibrating in the wind.

Carefully carved edges between highlights and lowlights, and treatments of undergrowth separated by ultramarine blue, madrim, cadmium orange and titanium white.

There is one that is more feminine, softer and more harmonious.

Unknowingly.

Gu Weijing stood quietly in front of the easel for a long time.

Until Miss Shengzi had finished washing the cat, said goodbye to Awang, who was struggling and trying to pounce on her, and came back.

He was still looking at the drawing board.

"What are you looking at?"

"The full score is Nga Wang, and you are only a 2 to 3. I can't help but worry, if I don't tease you a little bit more. 'Wow', one day you will be able to break through the Zen machine and achieve enlightenment. I can't find it. Such a soft, cute little girl becomes my girlfriend.”

"However, that's because you haven't spent time with my brother Tsunamasa for a long time. He is more trouble-making. Maybe all these genes have been given to him."

"I can't help it. Your personality is too good, so I just want to tease you."

"Looking at the red leaves."

"Yes."

"Don't you think it's a little too bold?"

Maybe it was because Gu Weijing had just walked out of the air-conditioned studio and his body temperature was low.

She is wearing a little red dress.

"Isn't it weird? There is no special reason, but I once looked at the leaves under the shadows, and for a moment, I thought of such colors. So I wanted to try the effect of painting like this, then It's a warm red, um, but very..."

"At that time, I thought of the camellias swaying in the fields of the Akaishi Mountains in Nagano Prefecture in early spring. Kawabata Yasunari called them snow-like wildfires."

"Painting, of course painting."

He was very clever and changed it to Awang.

then.

"——Very dynamic."

Gu Weijing puffed up his cheeks.

Ms. Sakai could feel the slightest coolness passing through her skin.

Sakai Katsuko's eyes were still looking at the drawing board in front of her, and she asked curiously.

Sakai Katsuko asked.

Shengzi shook her clean hands, walked to him and asked.

Gu Weijing originally wanted to say that the one with 10 points was Kou Kou.

"Nonsense, I'm not a little nun."

Sakai Katsuko took a step forward, placed her chin and cheek on her boyfriend's back, and looked over his shoulder at the drawing board.

Sakai Katsuko frowned.

"You still paint? You, if it were you, I think you can be more bold."

His voice paused.

"Even if you have nothing, in front of the lover you like, it is not a wise choice to mention other people who may be ambiguous. You have to think about the other person. If you are jealous, you will feel annoyed and disrespected. If you are not jealous, you will feel that you don't care. You. Lose-lose." - "The Sloth-Headed Strategist's Guide to Love."

Gu Weijing turned his head and said, "It's hard to imagine that you are your mother's daughter. If I were to rate the people I know in terms of how noisy they are, from 1 to 10. One would be an old monk in the temple, and 10 would be …”

Katsuko asked aloud.

His fingers faintly brushed across the surface of the collapsed canvas on the easel: "It's like a swaying wildfire composed of phantom light."

Ms. Sakai carefully considered her words.

She said.

"My mom is just awesome, she doesn't make trouble. Who gets 10 points?"

When he has questions now, he asks Mr. Sloth for advice, so he just writes a special study note.

Miss Sakai smiled silently.

He Shengzi said almost at the same time.

Shengzi tilted her head, stretched out her finger and poked his cheek hard: "Be serious, I am asking for your opinion so seriously."

"If we have the chance, we must go and see it together. In spring, the entire mountain range there seems to be on fire."

Gu Weijing has been practicing seriously recently.

But the words came to my lips.

"Do you think the effect of painting like this is good? Is it too unrestrained? I think this kind of complementary color contrast between light and dark is more interesting than a simple black shadow. On the other hand, I am a little worried about painting it on top and making it appear Too inconsistent.”

Gu Weijing interface.

"As for the picture, I think it is no problem to draw it like this, it is very cute. The sunlight is blocked by the stones, and it is not absolutely dark. Through the scattering of the ground, it penetrates into the surface of the vegetation, forming a kind of The flickering wonders are handled very interestingly, whether it is bold or not is not the key, the key is-"

Gu Weijing paused for a few seconds before speaking again.

"The point is... I see art history in it. It's like it's spreading through these vines."

history.

This is a rather obscure comment, and it may be difficult for others to understand it.

Maybe it was because her body was pressed against his heart.

Miss Sakai understood what her boyfriend was talking about without any hindrance.

She sighed softly.

"Isn't this a bad review?" Gu Weijing said.

"No, on the contrary, this is a very powerful comment."

Shengzi's voice was low, but she sounded a little excited.

“Growing up, countless people have praised me, but this sentence is what makes me happiest. It’s just that compared to what my predecessors did on the banks of the Seine, who innovated and brought forth new things, what I am doing now , It’s really nothing.”

"This is too strong a statement. When I am an old woman, if you still say this to me, I will kiss you."

Shengzi smiled with crooked eyes.

Gu Weijing has always admired the uniqueness contained in Shengzi's paintings.

This coincides with the philosophy of Impressionism.

From the emergence of oil painting at the end of the Middle Ages to the long four to five hundred years at the end of the 18th century.

Generations of Western painters have certainly made certain progress and development in color science and perspective relationships.

But there never was such a radical change as Impressionism.

Impressionism was completely different from all previous schools of Western painting.

It is a disruptive, revolutionary change.

It’s a wildfire that starts a prairie fire.

It is light, the lightning of art.

Scholars’ research tells us that the development of human society always undergoes explosive changes with the arrival of a certain key node. At a certain place in history, at a certain moment in time, a key landmark node appears.

Australopithecus Lucy jumped down from the tree, some genius primitive man started barbecue with the fire of lightning struck wood, someone started sailing with Sinan, and Karl Benz crashed into the flower bed driving the tricycle with ridiculous steam. …

So society was never the same again.

The past two centuries have been a time of great scientific change.

It took people 200,000 years to learn to light fire and 15,000 years to domesticate livestock.

It took two hundred years to master steam and thunder.

From the time when the Wright brothers' Flyer One took off, to when Armstrong stepped down from the Apollo 11 lunar module and said, "That's one small step for man, one small step for mankind." That moment of "big step" - it seems that the world has been shuffled countless times.

There are so many key points that the candidates can memorize them forever if they are written in the textbook.

It seemed as if ten thousand years had passed.

From the earth to the moon, looking at the calendar, in fact it only took less than one generation.

It only took 66 years.

Science and art, science and liberal arts, are never incompatible enemies, but like DNA double helices, intertwined and symbiotic vines.

While science is undergoing great changes, art is also undergoing explosive innovation.

Outstanding art is an advanced prediction of society.

British historians who hold a Whig view of history believe that under the leadership of the great Hanoverian royal family and the glorious Queen Victoria.

Art, literature, music, and industrial development.

Go hand in hand.

The people of Great Britain are destined to become more prosperous and stronger from generation to generation.

From the slash-and-burn Adam and Eve to the well-dressed modern civilized gentleman.

Past, present and future.

Each generation will step on the shoulders of their fathers and climb a few more steps along the ladder of civilization to return to the paradise of Eden.

Ultimately reaching "glorifying God" - the ultimate goal of human existence in Christian ethics.

of course.

This tone of historical progress has been completely thrown into the trash can from the history of philosophy and culture, and has been slapped in the face again and again by the discoveries of archaeologists.

The living environment and knowledge of a rural London farmer born in the eighteenth century may not necessarily have any essential changes from those of a London farmer born in the eighth century AD.

Even though he was an emperor and a minister, Henry IV's level of enjoyment may not be better than that of Caesar's wine pool and meat forest before Jesus was born.

The same reason.

When Renoir, Monet, Manet, Pissarro... these small art circles who were not valued on the banks of the Seine took up painting, in fact, what the entire European painters did was the same as what primitive people used to paint on caves with charcoal. Graffiti is not fundamentally different.

It is nothing more than restoration, restoration.

A stereotypical restoration of reality.

And he began to integrate his own thoughts and abstract feelings about the world into the paintings, creating an objectively different look and feel from the real world.

Painting cold fire, hot snow, dim sun, bright night... This is the great shaping and new interpretation of art by the Impressionists.

This is the so-called "impression".

It is this kind of originality that "every flower catches every eye", which has completely destroyed all the old rules and regulations in the art world.

Painting has been transformed from a recording tool into an artistic language.

It was the Voyager 1, or Apollo 11, of the art world.

Reno's generation made such subversive innovations, so Gu Weijing said that he saw the history of painting in the overwhelming colors in Shengzi's paintings.

"In the early years, an issue of Oil Painting magazine said that from the moment the camera was born, the art of human painting should have come to the end of history. But Impressionism appeared. So, the art of painting began again in Monet's "Japanese Painting" "Impression" is reborn in the rising sun.

Gu Weijing praised: "The idea of ​​originality is the most valuable arc in a painter's thinking. Every time I see your work, Ms. Shengzi, I seem to see a millionaire. Of course, objectively , you are just a little rich man, you know what I mean."

"If you keep boasting like this, I'll be embarrassed. Do you want some water?"

Katsuko let go of her hand.

He walked to the side and handed over a bottle of mineral water.

“Eurocentrism.”

Suddenly, Miss Sakai spoke.

"What?" Gu Weijing turned his head.

"The metaphor you just mentioned, about the destruction and rebirth of art, is quite Eurocentric."

"Not all traditional painting schools in the world are oriented towards realism, only oil painting. However, "Oil Painting" regards oil painting as everything in the world. I can understand, who calls it oil painting? It just sounds a little bit Feeling arrogant."

Sakai Katsuko raised her head and looked at him with bright eyes.

"Gu Jun, you know what I mean."

The charm of Miss Katsuko is that she is a very gentle young lady with a very good personality.

But at the same time, she is also a very independent girl.

Like a gurgling warm spring, there are several rocks that do not change due to the current.

Even an authoritative magazine like Oil Painting.

If she doesn't like it, she just doesn't like it.

"Of course, I understand."

Gu Weijing smiled and nodded.

It’s not that Gu Weijing loves his house, or that he is arrogant because he has learned freehand ink painting since he was a child.

Talk about what is said objectively, on color science, optical theory, and perspective systems.

On Realism.

There are aspects of Western oil painting that Chinese painting needs to learn and absorb.

Holding a copy of "Yongle Dadian" or Xie He's "Records of Ancient Paintings", picking out each word to interpret it, if you have to talk about the relationship between certain colors, our ancestors understood it all a thousand years ago, but they were not willing to paint. , it’s really not necessary.

On the contrary, he seems not confident enough.

But get to the level of thought.

Talking about the painter's interpretation of spirit and integrity in his works, and his refinement and sublimation of abstract philosophy.

Looking back from the perspective of future generations.

As early as thousands of years ago, the evaluation criteria of vivid charm and spiritual form proposed by Eastern Xia painters actually coincide with the development direction of the entire modern art today.

It was not until the emergence of Impressionism that European painters began to have this meaning.

"When it comes to the exploration of Shen Yun, we Eastern painters are much wiser than Western painters. It goes without saying that the Eastern Xia bone method uses brushes and writes shapes with heart. The master of Japanese painting in the Edo period, Suzuki Harunobu, worked with Kunushi During the conversation, he said that true beauty should be like falling flowers in late spring, it must achieve the four points of lightness, delicacy, grace and sadness. "

Katsuko said softly.

"The works he left behind lack a vivid sense of body, but they have a desolate and distant posture that is meaningful. This kind of beauty is different from the disheveled clothes in many oil paintings of erotic paintings. It is extremely delicate and can be seen at any time when holding a lamp. The extinguished paper lanterns will disappear into the mist at any time while walking on the path in the spring night. This is a completely different aesthetic taste from the entire Western painting system."

"This is no different from the great progress of Impressionism that critics have blown to the sky. As long as this kind of wisdom exists, even if the camera is invented, art will not perish."

(End of this chapter)