Almighty painter

Chapter 762 Emotional Adjustment
Tonks moved slowly, his eyes fixed on the screen of his mobile phone, letting the pair of hard-soled leather shoes on his feet lead him towards a secluded unknown area.

Wait until you stop again.

He had reached the stairwell next to the elevator shaft.

Tonks pushed open the door.

When the hotel was renovated a few years ago, the owner installed heavy, normally closed fire doors like those in modern buildings on this century-old old hotel.

The iron-gray fire door can prevent the rapid spread of flames for a certain period of time. Naturally, it is not difficult to block greetings and interruptions from the outside world for a short period of time.

He casually spread his handkerchief on the steps at one side and sat on the ground, posing in a similar posture to the protagonist in the picture, with his right elbow resting on the steps behind him, judging whether the movement was coordinated.

Look through the crack outside the fire door.

The light in the stairwell flickered.

The voice-controlled lights lit up for a while because of the sound of shoes hitting the steps and the curator's cough, then went out after a long period of silence, and then were awakened again by the sound.

then.

The orange light installed on the ceiling of the stairwell would illuminate the darkness again and again, go out, and then illuminate the darkness again, like an accelerated sunrise and sunset, and the passage of day and night.

Tonks's frowning face was also constantly illuminated by the "sun", making it appear to be in constant light and shadow.

Appreciating art through an electronic screen is certainly not as clear and direct as standing in front of the frame.

But it is not difficult to judge the artist's general ideas and sources of inspiration when creating this painting.

Generally speaking - that's it.

Tonks put a lot of extra effort into this painting.

The eyebrows and eyes obscured by the faint mist and dim light appear both heavy and light... This contradictory feeling is portrayed just right and superimposed on each other at the same time.

The paint and brushstrokes on the surface of the painting are thick, like the sealing wax and rose water that medieval corpse collectors smeared on the eyelids and bodies of the dead. The brushstrokes depicting the body and the deep brushstrokes depicting the surrounding light and fog extend each other and completely merge into one.

But he could feel through the flowing mist that beneath the paint color, the young man's facial features and eyes should be delicate and a little bit cold.

Beneath the paint, there should be only a thin layer of linen canvas.

In Tonks's imagination, beneath the mist, there were the features of a young man.

In the next second, either the darkness swept away the beam of light shining from the curtain, or the beam of light melted the surrounding darkness. But no matter which one it was, in the next second, such heavy static would be broken by some kind of dynamic, like lightning breaking through a thick sea of ​​clouds.

This is the so-called unique sense of atmosphere of Impressionism.

Gu Weijing did not paint the frozen facial features like in a photograph in his works. He painted all the changes in a person's facial features. He did not just paint a certain frozen time node, but froze all the continuous time nodes of the sunrise or sunset in this unique time.

Tonks' eye twitched.

Impressionist painters with good skills were able to blend different landscapes, different colors, light, darkness, shadows, rain, dew, soil and fog into one. Turner has a very representative work about the dew-covered Palladian Mansion. The best part of that painting is that he cleverly conveyed the feeling of being "covered with dew".

He skillfully captured the dew dripping from the curved grass leaves on the manor in the early morning, and dripped it into the hearts of every viewer who appreciated this work.

This is enough to prove that Turner is a master in using light.

When Tonks saw the second work submitted by Katsuko Sakai, the "Forest Princess", he realized that Master Sakai's daughter had already reached such a realm of painting.

Her colors seemed to float on the fibers of the linen canvas. The exquisite torrent of colors rushed into the hearts of everyone who stopped at the booth. The oil paint succumbed to the tip of the young female painter's brush and, under her brushstrokes, became a color medium as soft as clouds and water waves.

Stand in front of that work.

Tonks could even easily use her "nose" to smell the fresh scent of the forest, and the dry, misty fragrance of the girl sitting on a branch in the distance.

therefore.

Even without Kazunari Sakai's connection, he would probably be willing to use his power as a curator to arrange an extra booth for the painting.

In the field of Impressionism, Ms. Sakai's brushstrokes are still excellent enough.

It’s not the excellence of a painter in his twenties, but the excellence that has nothing to do with age.

Above excellence, there is excellence, which is even better than excellence.

Those outstanding painters who have reached the realm of masters have taken the "magic" of mixing pigments to a higher level. What can be melted into one and woven into silk brocade softly under their brushes is not only the light and color of nature, but also the poetry of the world.

When Turner was creating in the morning, he was obsessed with expressing the dew, the changes in light and shadow at that moment, such as water droplets dripping from grass leaves, steam drifting from boiling water, and soldiers falling from galloping horses. His talent in the use of color was unmatched among his contemporaries. However, he soon stopped being satisfied with simply using color to express color, and began to try to use color to express things beyond color.

An excellent painter can use his brush to express the light and color before his eyes vividly.

For example, Katsuko Sakai.

An outstanding painter can use his brush to vividly express the light and color behind the eyes and what exists in everyone's mind.

For example, the painting "Human Noise" in Tonks's hand.

The overall tone of Gu Weijing's paintings is very dark, which highlights the brightness of the sunlight shining on the person's face. For this technique, he referred to Ms. Carroll's "Old Church on a Thunderstorm Day", which is a dark-toned Impressionist painting.

Impressionism was originally a painting style used to express sunlight and air.

Carroll's writing is full of dark clouds and heavy rain.
Even so, when depicting the old church, she also adopted a certain degree of additional backlighting, so that the overall tone of the church was completely hidden by the hazy fog.

And it is precisely because of this that the only lit candle in the only window appears so bright.

Fierce struggles are always hidden by artists in a sadness that others cannot understand and a solemnity that others cannot capture.

Tonks blinked.

He noticed that in the distance of the picture, illuminated by the light diffused in the fog, there were picture frames one after another.

Hao Ge, Da Huo or Chen Shenglin, the owner of Xihe Club hung his personal oil paintings in the studio, condensed on the background of Gu Weijing's work, and shrunk to the size of a mobile phone screen, almost a small piece less than the size of a bitter almond. Tonks didn't notice them at first, just thinking that they were embellishments painted by the painter to avoid the picture being too monotonous and deep in the distance.

I looked at it for so long.

He noticed something different, so he zoomed in on the screen of his phone. Amidst the cotton-like brushstrokes, Tonks saw the oil paintings lined up one after another on the distant wall.

This is……

He noticed the portraits in the paintings.

Each of these oil paintings is still very blurry. Only a few are fully illuminated by light, a few have mottled light and shadow, and most are just shadows in the mist.

But there is no doubt that the painter must have put a lot of thought into the carving of these "paintings within paintings".

Considering the status of these "paintings within paintings" to the painting itself, to the man in the armchair, it is roughly equivalent to the status of war paintings depicting the Battle of Trafalgar or the Battle of Waterloo, and the status of soldiers and sailors in the distance to General Nelson or Emperor Napoleon.

It can convey this "hazy" feeling, which is delicate enough to be equivalent to the fine kernel carving made by skillful craftsmen.

While highlighting the creator's painting skills, it also proves that they are by no means embellishments casually painted by the painter.

Oil paintings hang on the distant walls.

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Different faces stare at the man in the center of the picture, and also at the curator Micah Tonks.

His fingertips slid across the surface of the paintings within the paintings, just as Tonks wanted to use his fingertips to pass through the hard glass, through the colors in Gu Weijing's works, through the mist and light, and touch the characters with different temperaments in the pictures in another dimension of time and space.

I don’t know if it’s because I’ve been holding the phone for too long.

Tonks felt that the screen, which should have been cold, was getting slightly hot, and the eyes of those people were also getting slightly hot.

The works of German national treasure watercolor painter Menzel are mostly stored in the Doga Museum on Berlin Museum Island. William Turner, a British national treasure watercolor painter, also has a large number of his watercolor works stored in many large art galleries around the Thames River. Among them, the Taylor Gallery where Tonks works has the largest number of Turner's famous works in the world.

During these years.

Tonks once strolled through the silent and deserted museum, turned on the lights in the exhibition hall at midnight, and looked at the portraits of all living things in the works of Turner, who loved to paint epic themes.

From the destruction of Sodom to the heavy rain at Waterloo to the rainbow light by the Chichester Canal, he paused for a long time in front of those faces that were either shocked, struggling, shocked, or proud, wondering how the artists of the time experienced thousands of different emotions and skillfully dissolved thousands of different emotions into their pens.

It can express the dynamic time by freezing a moment.

With just a few strokes of the brush, one can melt the complex and delicate emotions of poetry.

This is the realm of mastery of artistic skills in Tonks' mind.

More than 20 years ago, Tang Ning used a painting called "Hundred Flowers" to make dozens or even hundreds of flowers of different temperaments, styles and meanings bloom on the same tree. With this painting, he won the gold medal of the Shanghai Biennale at the youngest age in history, and announced the arrival of a new art master to the entire art world.

Tang Ning's painting is complex and varied.

Two hundred years ago, Turner painted The Battle of Trafalgar. Turner stood in the same position where Nelson himself had stood a few weeks earlier, observing the half-destroyed command ship in the naval battle that determined the fate of England, and imagining the deafening sound of the guns firing.

Turner used the steam waves all over the picture, the soldiers' fear, rage, worry, selflessness... and all kinds of faces with different expressions, and in Nelson's fallen figure, he announced that a new art giant will rise on the road of art.

Turner's works are tragic and solemn.

As a British man, of course he loves Turner, and of course he likes the painting of The Battle of Trafalgar.

Whenever he stood before the painting, he was always filled with a strong patriotic enthusiasm that made him trample the French underfoot.

Like all old white British men, he also had the fantasy of standing in front of the canvas in the dead of night, pointing his finger at the surging sea, using a shoe stick picked up from the office as a command sword, clearing his throat, and then saying the famous order to launch an attack - "England expects that every man will do his duty!" to satisfy his COSPLAY Nelson.

Looking at the faces in Gu Weijing's painting, Tonks felt completely different from the feeling she had when she looked at the sailors and soldiers holding muskets in front of Turner's work.

Tonks had no idea if these paintings existed, or what emotions they originally conveyed.

They are not important.

What is important is that in the hands of Gu Weijing, after his secondary processing, the oil painting that was finally presented on the background of "The Noise of the World" does not have the heroic nobility, nor the cowardice of the cowardly, nor the naked muscular physique of the Greek Hercules God of War, nor the romanticized limbs stretched out like laurel trees, nor the goddess Athena driving a lion chariot.

It's much more ordinary.

Ordinary but not mediocre.

Apart from those intense emotions, leaving aside the roaring, roaring, laughing to the sky and crying, it is just some pure paintings.

Some paintings about the human world, some paintings about human faces.

All seven emotions and six desires seem to exist, but not so strong. What appears on his face is... just a faint trace.

Those faces just looked at him silently, glanced at him, and yet seemed not to be looking at him at all.

The sensor light above my head flickered on and off.

Tonks remembered when he was 26 years old, he stood silently outside the office building with a suitcase full of his artistic dreams. The sun above his head brightened and dimmed, silently moving from one end of the sky to the other, and the same was true for the suited foundation managers who walked out of the office.

Their eyes scanned him, silently moving from Tonks to him, and then to him.

No one reacted with any intense emotion, no one yelled at him, no one waved their fists in anger, and there wasn't even any obvious ridicule.

Everyone just avoided him like sheep around a pillar or water around a rock.

People talked to each other, held coffee cups, smiled or shook their heads.

But these emotions have nothing to do with him.

Tonks frowned in pain.

The sun of twenty years ago, the cold gaze of twenty years ago, fell on him again.

(End of this chapter)