Almighty painter

Chapter 763 A Powerful Person
When a person has reached a high position, when he has changed from a poor young man wearing an old shirt to the object of flattery in the banquet hall. When the young man waiting outside the office building with a suitcase has become a well-off uncle wearing a Rolex, a custom suit and a Jaguar.

Will he still be hurt by the gaze he once received?

When the sunlight from twenty years ago once again penetrates time and hits his face, will he still feel the burning pain from the scorching sun of the past?

Tonks suddenly realized.

People often don't recognize themselves at the time.

When he was waiting in front of the foundation's office like a beggar, leaning forward to beg for alms, leaning forward to say "Please, sir".

Tonks didn't have that much shame in her heart.

As he stood in the sun day after day, Tonks didn't feel very tired.

He was young then, he had nothing, and his heart was filled with anxiety about the bankruptcy crisis that might happen at any time.

Just like what Lao Yang said to Gu Weijing, young people should not take themselves too seriously, you should cry when you need to, beg when you need to, and be pitiful when you need to. When you are worthless, your face is worthless too.

When Tonks faced the threat his sponsor thrust under his nose, "If there's any problem with my tax returns, you'll be sued!", he was scared and confused. He didn't care about everyone's ridicule and neglect, he just wanted a life-saving straw.

to this end.

Tonks would trade anything he had for it without a second thought.

It is often not until a sudden moment many years later that people are able to recognize their own inner selves - for example, on this night more than 20 years later, he has become successful and famous, he has become an internationally renowned curator, after he tried to lick Miss Elena, he was licked by a group of people, he talked with the young man in the old shirt on the balcony, drank six glasses of champagne, ate two pieces of lobster, and happily peed, and then suddenly saw Gu Weijing's paintings.

He sat in the quiet stairwell, slowly looking at an oil painting, the dim lights in the stairwell illuminating his face.

The pain and loss that were difficult to face in the past would often come to him at such a moment.

That is a pain that can never be completely soothed no matter how many glasses of champagne you drink, how many pieces of lobster you eat, how many people lick you, or how many teeth you laugh out.

The pain from the past.

It would live on in her mind and on Tonks' face forever.

The silent ridicule and silent sneers those people directed at Tonks were just like the sneer Gu Weijing directed at Miao Angwen.

It remains in my heart forever.

Tonks raised his head, looking away from the phone screen and staring at the flickering lights above his head.

a long time.

He sighed softly.

Tonks stood up from the steps and dusted herself off.

He was about to turn off his phone silently.

When moving the screen, Tonks discovered that in the small right corner of the picture, there was not only the artist's personal signature, but also a line of neatly arranged small characters, which was a message or something else left by the painter.

Tonks zoomed the phone screen to the right position and squinted her eyes to look over -

"I sat on the top of the mountain, sitting here and creating mankind in my own image, making this race the same as me, to suffer and cry, to rejoice and be happy. And like me... I despise you."

He read out the line of poetry word by word.

What exactly is Impressionism?
Most scholars would give the classic answer - Impressionism is a school of painting that dissolves sunlight and air, but some critics and creators would give a more romantic answer.

In Mr. Sloth's podcast, Detective Cat said: "We don't portray gods, we only record sunlight and air. We don't follow dogma, because beautiful things will remain, and pain will eventually pass away."

Turner said that his works, his watercolors, were all about paintings of dissolved poetry.

"I sit on the top of the mountain, sitting here and creating human beings in my own image, making this race the same as me, to suffer and cry, to rejoice and be happy. And like me... to despise you." - Gu Weijing wrote this at the end of the painting.

Tonks chanted again quietly.

Goethe's "Prometheus", the last section and the last sentence of the long poem.

This was the first time Tonks read this line of poetry. He didn't recognize its source, but he roughly realized who the protagonist described in this line was.

Prometheus.

The ancient Titan god Prometheus, the Prometheus who stole fire, was tied to the top of the Caucasus mountains. From his broken chest flowed thick golden blood, like molten gold, dyeing the towering snow-capped mountains with the dazzling sunshine of Prometheus.

He knew the story all too well, but Tonks still felt a slight shudder.

Something conveyed by these words once again froze me in place.

That is--

A certain noble and calm dignity.

In the vast sea of ​​people, all those contempt, ridicule and cold eyes seem to flow past you like water, and you feel lonely, confused and ashamed.

The unknown fate and the rules of society are peck- ing at your liver like vultures, causing you to feel excruciating pain.

But you did not roar, you did not kneel down and beg for mercy, you just sat calmly in the water, sat calmly on the top of the mountain, watching the suffering, crying, entertainment and joy in the world.

You say to yourself...

Life is so beautiful.

Tonks sniffed, he looked at the painting again, he looked at the man sitting in the armchair again, he looked at the long poem that Gu Weijing had left in the corner of the painting again.

"There's also a painter who likes to do that, isn't there?"

Tonks felt something strangely familiar.

Painting, accompanied by poetry.

He had seen another European painter do the same thing.

……

It is very common in the field of Chinese painting to attach a poem-like text in the corner of a painting.

Painting poetry is one of the important categories of Chinese poetry.

Since ancient times, there has been a tradition of "expressing lofty sentiments and aspirations, and inscribing them with poetry when the painting is not enough". This trend became particularly popular after the Song Dynasty.

Almost every painting left by Wen Huiming and Xu Wei that records the landscapes of the countryside has a poem accompanying it. Don't worry.

Even if they themselves did not have the opportunity to raise the issue at that time, after waiting for a hundred or two hundred years, a person named Aisin-Gioro Hongli would appear, come back from court, pick his teeth and casually write a few lines of poetry on it, and then slap the seal of the Ten Perfect Man on it.

The scene and the mood blend together, poetry and painting become one.

Poetry and painting, painting and poetry, have always been part of the literati painting tradition since the Song Dynasty.

The quality of poetry writing is another matter, but among the famous artists in the painting school since the Song Dynasty, few were not also poets, and few did not write one or two poems in their lifetime.

Books, poems and paintings - these are the three most important vehicles for scholars to express their thoughts and ideas in their lives, and they are condensed into one on ancient scrolls.

But this tradition is very rare in the Western art system.

This certainly does not mean that Western painters are born without artistic pursuits and are inferior to others. Just as the depiction of muscles and the study of the relationship between proportions in Chinese paintings may not be as detailed as Western oil paintings, it does not mean that Eastern painters are born without artistic pursuits and are inferior to others.

It depends on how the painter "lives".

In the traditional sense, in the early stages of development, Western oil paintings or watercolors were primarily concerned with recording and restoring reality.

It can even be said that before the 19th century.

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The main responsibilities of Eastern painters are not much different from those of today's artists. They seek to express a certain "divine temperament" and their goal is to paint to express their aspirations.

The main identity of Western painters is to record history. The responsibility of painting is to "record scenes" and the goal is to use the brush to reflect the real light and shadow in detail.

This difference in status and job function has led to different emphases in Eastern and Western painting styles.

The West had developed sophisticated optics, color theory, and a scientific perspective system earlier, and was able to depict human muscles more realistically, but their exploration of freehand painting was much slower than that of Eastern painting schools of the same period.

Under the specific historical background of the time, the social status of early oil painters was relatively low.

Therefore, early academics believed that the most important duty of art was to record clearly and distinctly.

The most important purpose of painting is to serve your employer well.

Even if you are Rembrandt or Leonardo da Vinci, their main source of income is still painting for wealthy businessmen and aristocrats.

If you were asked to draw a portrait of a count, you had to draw his big eyes, moustache, high heels, long stockings and a velvet ball stuffed in his crotch to show his masculinity (it was fashionable for the nobles at that time to compete to see the size of this "elegant bulge"). If you drew too small, you would be beaten, and if you drew anything else, you would be considered not doing your job properly.

If you were asked to paint the Last Supper, you should paint thirteen men eating together at a long table.

If you are asked to paint a war scene, you have to paint how people run, how horses jump, how spears are thrown, and everything is only related to the scene painted on it by the brush.

The space left for artists to express "residual connotations" is relatively small, let alone space for expressing abstract "poetic sentiments".

But after the 19th century.

As Western art styles began to explore the "divine will" of painting, people were no longer satisfied with painting what they "saw" but wanted to start painting what they "thought in their hearts".

Almost immediately.

Artists who were both painters and poets emerged.

Some painters also began to try to provide corresponding poems for their works.

The most famous and representative one is still Turner.

In the blank corners of Turner's carefully crafted paintings that curator Tonks saw in the Taylor Art Gallery, there are often words left by the painter, such as "If we meet on the road someday, how will I greet you? With tears, with silence." Or "The light of glory is like a phoenix reborn from the ashes, she comes in a beautiful posture, just like the night - the sky is clear and cloudless, and the stars are shining."

Most of them are long poems written as tributes.

William Turner's works in the first thirty years of his life were mostly poetic English manors or poetic natural scenery.

From the mansion of the Earl of the House of Lords, to the rainbow in the sky of Barmer, to the herds of cattle and sheep in the homes of Scottish ranchers.

And the last forty years of his life.

Turner seemed no longer satisfied with using hazy works to express the poetry of landscape. He wanted to start using hazy landscapes to express the poetry of his works.

To use a brush to express the "dew on the earl's mansion" requires precise depiction of lines and colors, but how should one paint to express "silent tears" or "the light of glory like a phoenix reborn from the ashes"?
William Turner spent half his life groping on this path.

Seeing the painting "Human Noise" by Gu Weijing in her hand, Tonks seemed to vaguely see how the British watercolor master was in his own gallery two hundred years ago, painting the flickering starlight with a watercolor pen in front of the easel, and writing Byron's heroic poems in the corners of blotting paper with a duckbill pen.

"I sat on the top of the mountain, sitting here and creating mankind in my own image, making this race the same as me, to suffer and cry, to rejoice and be happy. And like me... I despise you."

Tonks recited for the last time the poem that Gu Weijing had written on the blank space in the painting.

He stared at the picture carefully for the last time, stroking the hazy face of the young man sitting on the armchair, and looking at the faces staring back at him from the far end of the painting.

He put his phone in his pocket, pushed open the fire door, and strode out of the stairwell.

When Tonks once again returned to the banquet hall of the Raffles Hotel, watching the people in the banquet hall talking, chatting, frowning or smiling, he thought of the faces that slipped away from him twenty years ago.

If Tonks were given another chance to choose, allowing him to travel through time twenty years later, and let today's curator stand again beside the office building on the seaside of Edinburgh, the capital of Scotland, and face the other party's question: "Young people, everyone is excellent, everyone works hard, why should I give you an allowance?"

Saw this work.

Tonks could then grit her teeth, harden her heart, open her mouth and say -

Ok.

He would probably still say, "Uncle, if you have any requirements, just tell me and I can change them."

"I guess... I am indeed not as good as him?"

Tonks thought a little disappointedly.

He is still very grateful to Uncle Jimmy who was willing to ask him for "what he wants". Tonks actually knows that there are only a few people in the world, very few truly powerful people, who have the heroic temperament to change the world.

The vast majority of people are no match for the power of rules.

No matter good or bad, everything will eventually become dust.

But Tonks was just fantasizing. That day, he opened his briefcase, handed his curatorial plan to her, and stared into her eyes. "Because I will conquer you with my art. Everything we talk about is only related to art."

Look the other person in the eye and say "Because I will bring a good enough exhibition."

He would also think that that would probably...must be a very cool thing.

(End of this chapter)