Reborn as a great painter, with a system, you can be willful

Chapter 380, Visiting the Metropolis, Time

Jiang Zhe and his group left Christie's and looked for a place to have lunch first.

While eating, everyone discussed the afternoon plans.

Jiang Zhe wants to buy gifts for his family and friends in the afternoon and visit the Metropolitan Museum of Art tomorrow.

Wang Zhen gave him a suggestion: "You can go for the tour this afternoon and buy gifts tomorrow. This arrangement will give you more time."

Jiang Zhe said that it might take a day to visit the Metropolitan Museum of Art.

Wang Zhen said, "The Metropolitan Museum of Art doesn't close every evening. If we go today, we can visit until six o'clock or even later. You can come with us."

Several others, who were looking forward to visiting the Met, also approved of the arrangement.

Although Jiang Zhe wanted to have more time to visit, he felt that Wang Zhen’s suggestion made sense, so he agreed to go for the visit today.

After dinner, the group went to the Metropolitan Museum of Art next to Central Park in Manhattan.

The exterior design of the museum is a very typical classical architectural style.

Buy your ticket and pick up a map at the information desk in the front lobby.

Jiang Zhe flipped through the booklet and saw the content he wanted to see most.

"I'll go to the exhibition hall on the second floor to look at the oil paintings first," he said to Wang Zhen.

Several of my companions wanted to go and see China's cultural relics first, especially Lao Zhang and a few others, who kept talking about wanting to see the famous murals.

So they went to visit separately. Jiang Zhe and Wang Zhen walked up the wide staircase to the second floor, and what came into view was Renoir's work - Piano.

The work is large in size, so there is something to see whether you are viewing it from a distance or up close.

While admiring it, Jiang Zhe asked the system to start collecting data.

He and Wang Zhen watched together, occasionally communicating in a low voice.

Soon, they saw the highlight - Monet's paintings.

Jiang Zhe stopped in front of a work of art.

Wang Zhen said as he looked at it: "The Terrace at Sainte-Adresse is an early work of Monet, and his style at that time was still quite realistic."

Jiang Zhe nodded. From a close distance, the painting looked like just some brush strokes. Only from a farther distance could the wonderful images be seen.

"This painting is also often used in picture albums in our country."

He also saw irises painted by Monet. Coincidentally, there were some works of Van Gogh next to it, including irises in a very classic Van Gogh style.

Jiang Zhe repeatedly compared the two paintings, appreciating their different aesthetics.

This exhibition hall also houses the Metropolitan Museum's most valuable treasure, Van Gogh's self-portrait wearing a straw hat.

The two came to another exhibition hall, where classical oil paintings were displayed. Although these painters were not as famous as Van Gogh and Monet, Jiang Zhe still paid close attention to observation and learning.

He looked at an oil painting for a long time and was reluctant to leave.

This painting, The Birth of Venus, is by Cabanel.

The girl lies on the waves, looking a little shy, as if she just woke up. Both the composition and the characterization are almost perfect.

Wang Zhen asked, "Do you like this work? If I hadn't read the introduction, I wouldn't have known this painter." Jiang Zhe said, "When he was alive, he was more famous than the Impressionists. If I remember correctly, this work was exhibited at the Paris Spring Salon in 1863. Napoleon III bought this painting for 2 francs.

Cabanel received a series of honors, was elected a member of the Academy of Fine Arts, and became a professor. However, Manet's work, Luncheon on the Grass, was rejected by the Salon of 1863.

Wang Zhen said: "History is so interesting. The painters at that time could not have imagined the current situation. Why do you like such paintings?"

Jiang Zhe said: “I like both classical and impressionist paintings, and I am not opposed to modern paintings.

Classical painting originated from the Renaissance, and it took more than 200 years to form the norm. It took too long and was too rigid, so many painters want to change it, not to say it is bad. "

The two chatted quietly while strolling and appreciating the works. Seeing the works of the Barbizon School, Jiang Zhe said: "These painters, Corotmiller, Daubigny, Rousseau, at the time, took the initiative to leave the norms of classicism and inspired Impressionism. Including realism, it was not in the mainstream at the time. However, art should be like this, with different understandings and preferences."

Wang Zhen looked at a landscape and said, "We Chinese people really appreciate this kind of landscape painting. I remember the French rural painting exhibition in 1978, which caused a sensation in Shanghai. To this day, many people still like Corot and Miller."

Jiang Zhe said: "This may be related to culture. When Western European paintings enter Russia, China, and the United States, the degree and direction of acceptance will change.

Perhaps, audiences in our country can find some resonance in the works of the Barbizon School.”

They saw a painting by Millet.

Jiang Zhe said: "Sometimes it takes time to understand a work or a painter. After Millet's death, France gradually realized his importance. However, the famous work, The Angelus, had already been bought by an American. So the French bought the painting back from the American Art Association.

I read a document that said the French took to the streets to celebrate.”

The two chatted and admired, and time passed quickly. After viewing Western paintings, they went to look at Chinese art.

When you enter the exhibition hall, the most eye-catching thing is the huge colorful mural from the Yuan Dynasty - the Medicine Buddha Sutra Transformation Picture.

Even after hundreds of years, its beauty is still very shocking.

While admiring it, Jiang Zhe couldn't help but recall some legends about it, how it was sold and how it was moved from the wall, and he felt a little sad.

After viewing many works, they came to a Chinese garden in the museum. As it was getting dark, there was a different atmosphere in the museum.

Jiang Zhe stopped at a place called Lengquan Pavilion, surrounded by rockeries and flowing water. When he sat on the stone bench here to rest, he felt like he was traveling through time.

If there were no tourists passing by, I would really feel like I was in a Suzhou garden.

He felt a little envious, thinking how great it would be if he also had such a garden.

"Hurry up, let's go and have a look at other places." Wang Zhen urged.

The two reluctantly walked out of the garden pavilion, passed through the big iron gate, and came to the Egyptian temple exhibition hall.

According to the drama data, there is a real temple from Egypt here.

The two entered through a small door and saw the temple.

The museum has a very wide view, with an extra-large glass window and a pool that resembles a river.

Jiang Zhe looked at the pool water and his reflection in the water and thought of the night on the Nile River.

The various artworks and furnishings in the museum, with their weight of history and cleverly arranged designs, create a peaceful atmosphere.

Although they didn't quite understand, Jiang Zhe and Wang Zhen were also moved by its beauty and mystery.

They did not leave the exhibition hall until their companions urged them to do so, seizing the opportunity to buy souvenirs.

(End of this chapter)