Almighty painter

Chapter 642: Fight between Dragon and Tiger (Part )

The above are not the main points.

The most dynamic part of this painting is not the agility of the brushstrokes and textures.

But it lies in the agility of temperament.

It is the agility of light.

Rather than calling this agile feeling "dynamic", Tonks would rather call it "momentum".

Dynamics is an intense feeling, like the lightning-fast uppercut thrown by a boxer, the continuous waves on the seashore in the wind and rain, and the rocks rolling down from the top of the mountain...

Momentum is a kind of energy, a static yet abundant energy.

It is like a boxer taking a long breath after firmly grasping his opponent with his eyes. It is like standing on the calm seashore, looking at the blue sea and the dark blue clouds gathering in the distance on the horizon. It is like a backpacker crossing a valley, looking up and finding a huge rock leaning across the cliff, with only a thin line connecting the rock and the mountain.

It's thrilling.

It is also not firing.

Brushes, painting knives, fingers, different textures blend on the canvas, the two artistic aesthetics of the East and the West collide with each other, and finally weave into a resilient net.

Colorful paints are piled up on it, and the energy flows, lingers and oscillates across the entire web.

Tonks looked at the screen, taking it all in.

It’s not just the characters above that have momentum.

It's not just the uncle who is washing the little girl's hair, but also the sunlight itself.

It seems that even the sunlight has been melted and condensed into something with extra weight under the painter's brush.

It's like a huge rock suspended in the air.

The warmth of the light in this painting is different from the warmth of the light in Girl Reading Poetry to a Cat. The warmth of the latter makes people feel peaceful, while in the former, it feels like it may split in the middle at any time and turn into a sweeping flame.

Arrange the many works received as submissions to the art exhibition in a row.

Among all the strange and magnificent visual bombardments, "Good Luck Orphanage in the Sun" is definitely not the most outstanding one at first glance.

If you don’t feel the energy of this painting, you might even think that the composition, interest, and portrayal of the characters are all mediocre.

This is actually not wrong.

Its composition was originally simple, and there was some thought put into the structural design of the picture, but in Tonks's opinion, it was nothing special.

There were many contestants with excellent picture structure in the exhibition, not to mention those modern art schools whose main business is "design".

The interest of this work is even less than that of others. There is no attempt to use a painting to explain any grand story, no entanglement of love and hate between men and women, and no thought-provoking social reflection.

Only only.

Once you stop in front of it for a long time, staring at the picture quietly, you will truly take in the painting.

That kind of movement will resonate with your heart.

The whole person seems to have become a resonance chamber for the energy of the painting.

The heart is beating.

And you can hear the sound of the tide rising and falling in the silence.

This is the most distinctive highlight of this work.

"Mr. Sakai, you just said that it is meaningful to talk about creativity only after you have created a good work. In my opinion, even if we use this standard to measure, he has done a very good job of realizing his creativity and ideas with a good painting. Especially for a young painter like him, the basic skills of painting are very solid."

Tonks commented.

The basic painting skills of his previous works were certainly very solid, and could even be said to be excellent.

But on a big stage like an international biennale, everyone excels.

Excellence is the bottom line for participating in an exhibition.

He was definitely still a long way from being able to draw a picture that would make Tonks kneel on the ground and sing "Conquer".

Even if we use Gu Weijing's current age as a reference.

This level of proficiency in penmanship is surprising, but it is far from being world-shattering.

The difference between people in the art world is greater than that between people and monkeys.

Skill, talent, destiny.

Everything is so different.

Some people continue to paint until they are ninety years old and are still unknown, while others become the world's top painters at the age of twenty.

Like Titian, like Caravaggio, and Raphael.

Raphael was only seventeen years old when he was painting for clients in Italy and was allowed to add "Maestro (Italian: Master)" after the signature of his works, which was the highest honorary title for painters at the time.

By the time he surpassed his teacher Perugino in all aspects of technique and style and was asked by the Pope to paint the dome, he was only twenty years old.

By then he was almost as famous as Leonardo da Vinci, who was forty years older than him.

Looking at the art industry as a whole, it is indeed poor, and it is indeed a late-stage career where your brushwork and style become more mature as time goes by.

But the variance is too large.

On the one hand, the majority of people in the industry are old comrades like Gu Tongxiang, who have been painting all their lives but have not yet achieved anything. To be honest, although Gu is old, inexperienced, and likes to show off, he at least has his own small art shop.

Not just in Yangon, but all over the world.

Gu Tongxiang in the past was certainly not considered to be doing well, but he wasn’t doing badly either, and could even be considered to be above average.

When people talk about a "down-and-out artist", they are not referring to someone like Gu Tongxiang, who could still make ends meet.

Going hungry for nine meals in three days, or sleeping on a bench in a New York park, lying on the street, or living in an RV that is so dirty that you can't even tell its original color, is called being down and out.

on the other hand.

There are many examples of people who have earned $1000 million before the age of .

Not to mention the lucky ones like Hirst, who became the number one artist in the history of the world at the age of 40.

Tang Ning was in his twenties and had already earned his first million and won the gold medal at an international biennial with his paintbrushes.

There may be a strong element of luck and speculation in the factors that influence how much wealth an artist accumulates.

But techniques don’t lie.

When Tang Ning participated in the Shanghai Biennale, he was not much older than Gu Weijing today, but his paintings were already well-balanced, full of spirit and meaning, and his every move showed the aura of a master.

That is true genius.

Tonks said -

Among the many elements that make up this work.

The technique is good and the painting style has its highlights, but even a senior expert like him can understand the painting technique thoroughly with just a quick glance.

If this painting method was created by him, it was a fresh path that no one had ever walked before and that Gu Weijing had taken on the thorny road of art with his own ability.

Say nothing.

This guy is light, electricity, and myth.

Tonks would immediately rush over, kneel down and present the gold medal to Gu Weijing, then give up her seat to let him become the chairman of the jury.

But if we only make some decorative innovations in texture based on the foundation laid by our predecessors.

So - his evaluation is just "very clever". At best, he put a lot of effort into the painting method, which is very mature and pleasing. It accurately scratches the itch of him as a curator.

The overall temperament of this painting, Weidu Weidu, is like a solidified flame.

It is no longer simply good, but...

Tonks didn't understand.

Yes.

Tonks had been looking and looking.

He looked at it for a long time, almost pulling out the beard on his chin, but still couldn't figure out how to draw this feeling.

No matter how complex and profound some works are, or how high-concept art theories they contain, it is still easy to understand them as long as you have the relevant background knowledge.

Just like Dadaism's white paper or Duchamp's Fountain, the creation itself does not have any complicated techniques. It can even be said that there is no technique at all. What is the difficulty in putting a piece of white paper in a frame or carrying a urinal into an exhibition?

The difficulty in appreciation lies in interpretation, in understanding the thought behind it.

however.

There are also some works that look very simple, just ordinary paintings with simple composition and strokes.

But if you really want to understand how this painting was created, you need more than just art theory. You also need a heart that can resonate strongly with the painter, and even need to have painted with the same brushstrokes and emotions as the other person.

Copying works is actually doing something similar.

For example, when Gu Weijing copied the painting "Old Church in a Thunderstorm", at the beginning, he copied the techniques, then gradually, he copied the emotions, and in the end, he even restored the "soul".

Tonks studied it for a long moment.

He found that he could see his painting ideas, all the highlights and shortcomings of the brushstrokes, the ways and methods of color matching... he could understand all the elements in the painting.

The only thing is, he just can't understand why these clearly visible elements are combined together to form a work that he can't quite understand.

When Tonks realized that she could feel its goodness but couldn't put into words why.

Then he knew.

Even though the other person is more than half his age.

But at least when it comes to shaping the temperament of the picture, I am not qualified to act like a curator or act like a big shot.

You don't even understand what it's saying, so why are you commenting on it?

Then again.

As a curator, Tonks really wanted to show off and there would be nothing wrong with making a few comments and criticisms.

However, Tonks is not a super pretentious person like Lao Yang, who will pretend to be pretentious even if he can, and will try to pretend even if he cannot.

He still wants to have some face.

There's no point in saying empty, clichéd words at a time like this.

In front of his wife, Kazunari Sakai was as obedient as a bleating, 200-pound fat goat. But if Tonks dared to treat him as an ignorant goat and make empty and irrelevant comments, then she was just being ignorant.

People may not say anything on the phone, and may even simply agree with him, but they will be laughed at to death behind his back.

“As for the shaping of the image’s temperament—perhaps it’s a little early to make such a judgment now.”

Tonks just said finally.

"But both this painting and the one titled 'Girl Reading Poetry to a Cat' are already at the master level. At least, I can say that they already have the foundation for a master level."

“You shouldn’t thank me, but I should thank you for allowing these two works to appear in our Biennale.”

……

After some simple greetings, courtesies, business compliments, and networking, we finalized the meeting schedule for August.

Uncle Sakai finally hung up the phone.

"Of course. He didn't say it explicitly, but from what he said, I think he wants to give booth number one, which is closest to the gate, to Shengzi and Gu Weijing."

Kazunari Sakai put down his cell phone, shook his big belly, and bleated to show off to his wife.

"I think it's a bit too conspicuous. I hinted to him that booth number two or three would be fine."

The best booths at the Biennale are definitely the main booths in the center of the exhibition hall, the core booths, and the specially designed special booths requested by CDX Gallery.

They are definitely allocated to the most important works in the exhibition, the biggest and most important painters, or painters invited through special channels.

When building your network, it is important to know the importance of knowing when to act.

The exhibitor this time is Kazunari Sakai.

He didn't even need to be greeted. He would definitely roll inside as soon as he entered the door, and squat on the largest and most eye-catching booth and wouldn't come down.

If anyone dared to compete with him for the food, he would sit on the other person's belly. If the other person refused, he would scream and shit out, but Uncle Sakai would not even stand up.

Given his "weight", in a biennial of this level, he is not the most important one, but one of the most important ones.

It would be ignorant of the curator not to give him the best booth.

His daughter Shengzi was the exhibitor instead.

If he asks for this kind of booth again, it would seem that he is immature.

The second-best ones are those allocated to artists who have passed the auditions. The closer the booth is to the front, the better it is and the more attention it will receive from the curators.

first.

The first one or two display cases you see when entering an exhibition hall may not necessarily contain the most important works, but they often set the tone for the style of the entire art exhibition.

Secondly.

No matter why people come to the exhibition, they just want to find a suitable angle to take a couple of photos and post them on WeChat Moments to show off. When the judges visit the exhibition, they may be thinking about which local restaurant has the best Hainanese chicken rice.

For the first one or two booths, the novelty had not yet worn off, so everyone looked at them more carefully.

Even if you are pretending, you have to pretend to be professional, right?

Some people might get tired after just five or six minutes of browsing and go somewhere to check their phones. But considering that the tickets to the Biennale are not cheap, they will pay attention and take a closer look at the first booths.

Therefore, the exposure rate will definitely not be low.

Kazunari Sakai felt that booth number one was a bit too eye-catching.

Let’s take the example of the imperial examination again.

A classic passage from the Peking Opera "Prime Minister Liu Luoguo". The chief examiner Heshen was jealous of Liu Yong's talent and secretly cheated. Not only did he not give Liu Yong the top scorer, but he also secretly demoted him.

This is, of course, a dramatic transformation.

First of all, who is Liu Yong? He is the son of Liu Wenzheng, the old minister of state. It should not be difficult for his father to rank among the top five or even top three among the Han officials in the Qing Dynasty. How can you secretly make things difficult for such a person? Secondly, in the imperial examinations in history, it is rare for a family like Liu Yong to win the first place.

It's too conspicuous and easy for people to gossip about you.

Basically, they are all in the top few of the second class.

Being selected as a Hanlin scholar won’t interfere with anything, and you can get all the benefits without being too conspicuous.

The first booth was occupied by Katsuko Sakai and Weijing Gu. Uncle Sakai thought it was unnecessary and too conspicuous.

Move it back a little and it will be just right.

"Be humble during the performance and don't appear too special. This way, if you win an award later, people won't gossip about you. Honey, honey, did I arrange it well?"

(End of this chapter)