Almighty painter

Chapter 760 Fire and Rain

After Tonks turned away with a proud look on her face, Gu Weijing remained on the balcony where the cool breeze blew, gazing at the neon lights of the city in the distance at the coast.

He came to the banquet in Lao Yang's car, and at that time, he was immersed in such rainbow light.

Wave after wave, tide after tide.

He was in it, and the brilliance was like a moth's cocoon, wrapping him up and making Gu Weijing's heart wrapped in gorgeous silk.

At this moment, Gu Weijing was on the balcony hanging high between heaven and earth, gazing into the distance. The words just said seemed like a sharp sword that split everything, separating the sea from the sky. He used soft yet hard words to cut the soft yet hard satin and the soft yet hard cocoon together.

The sea breeze blows on my face.

Refreshed.

A feeling of freedom and unrestrainedness enveloped Gu Weijing. He opened his arms, just like opening his arms to embrace the sea breeze and tide in front of him, and just like a moth emerging from its cocoon spreading its wings for the first time to embrace the sky.

He did not fly towards the huge lantern recklessly, nor crash into the gorgeous light recklessly.

He flew a little further.

Gu Weijing agreed with what Brother Hao said, that only with choices can there be good and evil, only with choices can there be light and darkness, and only with choices can one be the master of life, rather than the follower of fate.

Only when one has choices but does not choose can he become a noble person.

The artist has a choice but does not choose——

To be a Van Gogh.

and so.

Gu Weijing told Brother Hao that humans are not ghosts and they do not have to choose to live as cowardly as cockroaches.

and so.

Gu Weijing told Director Tonks that artists can choose not to exchange extra chips for Rolex watches, high-end suits or Jaguar cars.

He is an eighteen-year-old young man. He does not have the bearing of a saint. Of course, he likes luxury cars, famous horses, fine wine and beautiful women. Like most ordinary young people in the world, he yearns for a comfortable and leisurely life. He may not even have the courage to give up a rich life like Van Gogh.

But he could also choose to be like all the ordinary young people in old shirts who step into an art exhibition for the first time, try to win these things with the paintbrush in his hand, and try not to compromise with things other than art.

Even if it is just a small act of uncompromising, it is the change he brings.

If such a person is destined to be destitute, if such an artistic life is destined to die of hunger and thirst.

Then Gu Weijing accepted this choice.

He is already very lucky. He already has a good life and people he loves who love him.

Gu Weijing faced the splendid art center, the glittering city and the dark and deep sea, just as he was facing the glittering Miss Elena and Miao Angwen's slightly dark face filled with resentment and unwillingness.

"Mr. Gu, you are still young. You don't understand. Everyone in this world is the same. There is no good or evil in this world. There is only fate itself. You look down on me and you don't want my friendship, but what is the difference between the noble Elena family and me? Except that they are richer, more glorious, and more powerful, we have always been the same."

Brother Hao once said this to him.

"Yes, Mr. Chen, maybe you are right. Maybe the Elena family has always been the same as you. But you are also wrong. Not everyone in the world is the same."

Gu Weijing answered softly to the darkness, as if to Brother Hao, or as if to Anna or Miao Angwen -

"At least, I can choose to be different from you."

"Prometheus' fire? Isn't it?"

When he was trapped in it, surrounded by the place of fame and fortune, the neon lights of the city on the distant sea were like a cocoon wrapping him. But when Gu Weijing broke out of the cocoon and pulled himself out, looking from afar, he saw that it was actually a very beautiful urban coastline.

It is an artistic burning sea of ​​clouds, and also like an infinitely extending river of dreamy colors.

Prometheus could have spent his entire lives enjoying himself in the palace in the clouds, drinking wine, sleeping with nymphs, and being the immortal Titan. But he chose to steal fire from the sun god's chariot, to be chained to the cold peak of the Caucasus, to have his liver eaten by hawks and vultures.

Among the thousands of lights in the world.

He went from being immortal in one sense to being immortal in another.

When the moth no longer flies fanatically towards the flames of fame and fortune, when it flies a little farther, when its wings are ignited by the flame of Prometheus, then perhaps it is no longer an ordinary moth, even if it is tiny, it is also a tiny firefly that can glow.

【Ding--】

[You have just entered the insight state and gained 17321 free experience points. ]

Gu Weijing suddenly heard the system prompt sound in his ear.

He smiled.

He turned and left the balcony, walked straight out of the noisy banquet hall, walked out of the bright Raffles Hotel, got into a taxi in the waiting area, and drove away.

behind him.

The sea water beats against the shore like a tide, and the light is overflowing, like a dream.
-
For some reason, Mr. Mika Tonks from the Lion City Biennale, who had just disappeared for a while, seemed a little absent-minded in the eyes of outsiders after returning to the banquet.

He no longer drinks champagne, nor does he shake his little belly. He is not keen on being licked by others, and when he does lick others' teeth, he is a bit perfunctory.

His communication skills were obviously surpassed by Old Yang, who was flitting around like a butterfly. Even the number of times he secretly rolled his eyes at the back of the French art master decreased.

"Mr. Tonks? Mr. Tonks?"

The person next to him was calling his name, as if he had just said something and wanted to get a response from him. Tonks came to his senses and gave the other person a formulaic, perfunctory smile with a gap between one-third of his teeth exposed as a formulaic, perfunctory response.

Neither saying yes nor no, she waved her hand to indicate that she had to excuse herself for a moment, turned around, and also walked out of the banquet hall and headed towards the bathroom.

When going to the toilet.

Tonks was still thinking about the conversation he had just had with Gu Weijing.

"I guess I really lost my mind." The British uncle smiled helplessly in his heart. At that moment, he was ready to leave, but he felt uncomfortable in his heart.

It was as if when he turned around and left, he was not abandoning a stubborn young man on the balcony, but abandoning himself twenty years ago in the sun-filled land that once existed.

This feeling made Tonks uncomfortable.

Feeling upset and hot-headed, he strode back and poked the guy, trying to give him a chance.

But when the restless passion in her chest cooled down, Tonks felt upset in a different sense.

Is this a bit too impulsive?
What if there really is a problem with Gu Weijing’s paper?
What would those who once greeted him and hinted him to be careful and "pay attention to" Gu Weijing think?
More importantly...what is Ms. Anna Elena's attitude towards Gu Weijing?
Because of Gu Weijing, a few hours ago, Miss Elena had just had a fierce quarrel with Sakai Katsuko.

But he clearly heard Sakai Katsuko say, "I know you don't like Gu Weijing, and now you don't have to like me anymore."

At that time, Miss Elena's impression of Gu Weijing was clearly not very good.

In just a few hours, did her attitude really change 180 degrees? Did he make a mistake? Maybe she just wanted to find a quiet place in the Esplanade to stay alone for a while and read a book after the quarrel, and she was not interested in Gu Weijing?
After Gu Weijing had a private conversation with Miss Elena, she never came back. When Gu Weijing came back, he also looked bleak and deep, as if he had no interest in socializing at all and wanted to leave immediately.

Will their talks fail? Will Anna be greatly disappointed with Gu Weijing? Will he attack from both sides and flatter others, and accidentally hit the hoof of the Elena family and get stomped through the instep?
Director Tonks was thinking wildly in her mind as she excreted the champagne she had just drank.

Forget it.

Let's give this kid a chance.

After all, I am the curator of the Singapore Biennale, and I have quietly let out an opportunity for a peripheral exhibition or a peripheral booth through my fingers and handed it to that guy. As the column manager of Oil Painting Magazine, he might not have the energy to pay attention to such a small peripheral booth during the entire exhibition.

Even if I noticed it, I wouldn't think it would be worth getting mad at over such a trivial little booth.

It's too embarrassing, people won't do it.

Even if you don't consider Gu Weijing's face, at least consider the face of his curator Tonks! Now is the critical period of the power struggle between the Elena family and the board of directors of Oil Painting.

Gu Weijing showed his face there, and Miss Elena raised her hand and drew however she wanted.

Wherever he turns his face, wherever his 32 teeth point, even if the person in front of him is the manager of Oil Painting magazine who writes with swiftness, he will eventually...

...a slightly lighter smoke?

Tonks hummed a few words subconsciously between hisses, treating it as a rare moment of youth, returning to her twenties and being impulsive for once.

Impulse is the devil. You should do less of this kind of thing in the future.

Tonks fastened her belt and made a final decision in her mind.

Then again.

Even if it was just an inconspicuous small booth at a peripheral exhibition in a remote location, Gu Weijing could not get it by right.

Tonks didn't give the other party any guarantees.

He is willing to be younger for the sake of art, but if Gu Weijing wants to get this position, he also has to prove that his work is good enough to match his "impulse".

at this point--

Tonks wasn't too worried.

"That boy is like me when I was young. He is indeed quite skilled. He was picked out by an experienced senior at a glance among a huge crowd of people."

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The curator sniffed, washed his hands at the sink, smiled at the mirror with his eight teeth showing, and gave a relatively "fair" evaluation. It was not known whether his evaluation was to praise Gu Weijing or to secretly flatter himself.

Let’s not talk about whether Tonks was able to board the train back to Dundee with a cheque for 5000 pounds from the foundation and a textile material list from the Scottish Sheep Farmers’ Federation because the uncle in the foundation’s management had some appreciation for his curatorial talent.

Gu Weijing's artistic talent is indeed visible to the naked eye.

He had seen Gu Weijing's first work, "Good Luck Orphanage in the Sunlight", which was quite insightful.

Then consider the other person's age.

The guy's words sounded a bit arrogant, but he also had the confidence to "conquer everything with art itself."

As for the second painting, since Gu Weijing claimed that it was an excellent painting and worthy of a new exhibition stand, Tonks was 80% sure that it would not be too bad.

It could barely be considered a painting that would make an upper-class uncle stop, bare his fingers, and secretly slip a textile catalogue into his arms.

Just now.

Tonks's phone, which was placed next to the sink, finally vibrated.

【Painting category: traditional oil painting】

[Title: "Human Noise"]

[Style of work: Impressionist works]

【Painting size (inch):——】

【——】

After Tonks informed his curatorial assistant, Bonnie finally sent him the details of Gu Weijing's painting "Human Noise".

What is displayed in the information bar is the electronic information about the painting.

"Impressionist work? Oh, it's a different art style."

He noticed the word "Impressionism" attached to the artistic style in the information that stayed on the screen for a few seconds.

Gu Weijing and Cui Xiaoming, both of whom originally used a painting style that combined the characteristics of Eastern and Western art, had left a deep impression on Tonks.

Cui Xiaoming's creations tend to be more inclined towards a three-dimensional fusion of point, line and surface structures.

Gu Weijing's works are still based on the scattered perspective theory of traditional Chinese painting system, with Lang Shining's new style of painting as the idea, and with certain changes.

The two people's works have a "similar" temperament, and the artistic paths they choose to achieve this temperament are obviously different in their own ways.

Gu Weijing's works are more complete, while Cui Xiaoming's works are more original.

Tonks was thinking about Gu Weijing's second work, and he would still choose a painting idea that was exactly the same as "Good Luck Orphanage in the Sunshine".

He felt that no matter what, the other party's work would not be "too bad" for this reason.

Gu Weijing's painting "framework" is there. Even if he paints mechanically and produces a pure "artisan" style work, the lower limit will certainly not be too low.

There is no barrier for artists to change the content of their paintings.

Romanticism, Impressionism, Cubism... Painters set the framework of their works, and then if they want to paint landscapes, they paint landscapes; if they want to paint portraits, they paint portraits. As long as they have enough time, they can paint a hundred or a thousand works of art with different contents. There is no technical threshold.

This behavior is equivalent to wantonly filling the same skeleton with flesh and blood, or constantly "building houses on top of each other" on the same foundation.

If you change the painting style, it will be a completely different concept.

To do so, it means dismantling the entire frame and rebuilding it, or building another foundation outside the original foundation.

Artists are always cautious when trying different painting methods.

In the past, changing painting styles would involve a lot of conflicts of interest.

A painting style is equivalent to a small gang in the painting world.

Many of the various small factions in the art world are unhappy with each other. In special circumstances, such as the dispute between the Venetian School of Painting and the Florentine School of Painting in Italy, easily changing the painting style may be a bit like "rebelling" from the Huashan School to the "Wudang School".

Your original social circle and network of contacts have collapsed, and your new social circle may not accept you.

In modern society.

Artists emphasize the integration of all styles. The differences between painting styles are no longer obvious, but changing painting styles is still very difficult.

Many artists may only paint in one style throughout their lives.

His artistic path was as varied as Picasso's, and he was very active in various cross-border fields, such as printmaking, crayons, porcelain firing, pottery making, vases, and casting silver plates.

There is almost nothing that Lao Bi doesn't play, he is extremely productive.

Many of Emperor Qianlong’s collections were suspected of being “robbery”; he would often take anything he saw that was good into his own treasury. As a result, during the nearly 90 years that Qianlong lived, the total art collection in the royal treasury at its peak should have been worth only tens of thousands of dollars.

Mr. Bi lived to be around 90 years old, and he also produced tens of thousands of works.

On average, his manufacturing speed is slightly faster than Emperor Qianlong's "Hurricane Inhalation".

however.

Speaking of painting categories - apart from his childhood and student days, Picasso, who was famous for his ever-changing styles, made outstanding explorations in only four or five artistic styles in his 92 years of life.

On average, it takes twenty years and twenty years of hard work to develop a painting style.

Although Impressionism has similarities with his original painting style, and although Impressionist works are a school of painting that almost every art student will come into contact with, but Gu Weijing... can he really do it well?
In this art exhibition, in terms of pure impressionist painting, Tonks was most impressed by Katsuko Sakai.

The two young people have a close relationship, but a close relationship does not mean that the painting style has to be close.

Gu Weijing abandoned his already mature painting style and turned to the traditional Impressionist style. In Tonks's mind, this seemed to be giving up his greatest advantage.

This is not the same concept as when he inserted a sheep show into a dairy show.

"Is it because of the controversy over his paper on Impressionism that made him eager to prove himself in the field of Impressionism? Well... knowing how to study Impressionism doesn't necessarily mean you need to know how to paint Impressionism."

Tonks shrugged.

The curator took two tissues, wiped his hands, picked up his phone, and strode out of the bathroom.

While walking, I clicked on the message on my phone——

Yangon's humid rainy season blew into his eyes.

(End of this chapter)