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

Chapter 383, Goal, Become famous as early as possible, Customized
Professor Qin was flipping through the album in his hand while discussing the works with Jiang Zhe. It was obvious that he really liked collecting these albums, and when he saw a famous painting he liked, he would stop and appreciate it attentively.

He saw a painting by the French painter Le Page - A Woman Listening to Holy Music.

He pointed to the picture and said to Jiang Zhe: "I like this painting. Le Page is not only a master in creating characters, but also good at depicting emotions and inner thoughts.

This painting not only captures the simplicity of a country girl, but also conveys a sense of sacredness.

In the garden, the dusk is all around, the grass and trees, the light, the distance and nearness of the space create a sense of mystery that is worth savoring. Unfortunately, the painter died at the age of 36. What do you think of the effect of the original work? "

Jiang Zhe said: "There are so many works in the museum. I only looked at them for a while, but I felt that the characters were very vivid."

Professor Qin looked at the page and said, "Another painting by Le Page was exhibited in China in 1978 as part of the French Rural Painting Exhibition."

Jiang Zhe replied, "I have heard of this exhibition."

Professor Qin raised his head, as if recalling his youth: "At that time, I had the honor to go to Shanghai to watch this exhibition. The scene was really spectacular, with so many people queuing up to see it. Obviously, queuing was a very painful thing, but at that time I was only looking forward to it. Those works opened the eyes of our domestic oil painters.

At that time, I saw Lebeuge's paintings, and I can't forget them now.

I later learned that at that time, several painters were lucky enough to receive the task of copying famous works during the exhibition, and one of them was Chen Yifei.

That exhibition influenced many painters.”

After he finished reminiscing about the past, he asked curiously, "Where is this painting of Le Page hanging?"

Jiang Zhe recalled the scene during the visit and said: “This painting was hung in the corridor.

The entrance to the 2th Century Gallery on the second floor of the Metropolitan Museum of Art. There is a long gallery that usually displays the works of famous academic painters of the 19th century.

I remember Cabanel, Le Page, and a Meissonier.

The main hall displays the works of important French painters of the 19th century, from Ingres to the Barbizon School, and then the Impressionist works, from Monet, Renoir to Van Gogh and Gauguin.

Because the museum pays more attention to Impressionist and Post-Impressionist painters, the works of each of these painters can occupy one or even two halls.

Some academic painters can only work in the corridors. "

Professor Qin was thoughtful and said slowly: "At present, the works of Impressionist painters are recognized and familiar to people. I have seen many European academic painters, who used to be frequent visitors to the French painting salon. But today, they have been forgotten.

However, when these painters were alive, the situation was just the opposite. Most of the Impressionist paintings were rejected by the Salon. Even after being selected, they were placed in a corner and ridiculed by the public or media.

So the Impressionist painters at the time were resentful because they were marginalized. This was the price they paid for deviating from the fashion of the time.”

These words touched Jiang Zhe and reminded him of his previous thoughts.

Professor Qin saw a work by Meissonier, which was a painting depicting a war scene.

"Jiang Zhe, look, this painting is the subject that Meissonier is best at. He is best at painting small paintings, and he can paint countless details on a small-sized canvas."

The two people then started talking about the French Academic School and Impressionism.

Professor Qin said to Jiang Zhe: "When you have time in the future, study our Chinese paintings and you will find that we like to divide paintings into rare works, divine works, capable works, etc. The works of painters like Le Page are all capable works.

Among the Chinese painters, what they fear most is that their works will be called mediocre or even have a sense of craftsmanship.

At that time, traditional Western painting focused on technique. Even the skills and talents of Impressionists, such as Manet and Degas, were very impressive. Only in modern painting did people seem to abandon technique. "

He looked at Jiang Zhe and said, "Have you ever thought about whether you want to be a painter recognized by contemporary people or a painter recognized a hundred years later?"

Jiang Zhe thought about it and said, "Can I have them all?"

Professor Qin laughed: "You are too greedy. It is not easy to be recognized by contemporary audiences. If you want to be remembered by future generations, you need luck.

For example, the shift from romanticism to realism is a conscious or unconscious deviation. The shift from academicism to impressionism is also an active or passive deviation.

Jiang Zhe said: "You are right, but if the work cannot be remembered by contemporary people, no one will pay attention to it, let alone preserve it. After a few decades, the work will be damaged and no longer exist. How can it be remembered?"

Professor Qin nodded: "Many people have expressed the same opinion as you, so sometimes it is really a coincidence."

The two chatted for a while, and Jiang Zhe saw that there was not much time left, so he took the initiative to say goodbye.

Professor Qin accompanied Jiang Zhe downstairs and said, "If you have any new works, remember to show them to me."

"After I come back, I have some ideas. Once I have sorted them out, please find the problems." Jiang Zhe left the school.

Today, when talking with Professor Qin, I discussed the issue. In his opinion, the choice is not difficult.

With the help of the system, I should be able to be remembered by people of this generation. As for whether I can be remembered by people in the future, I can only wait and see.

He gave the gifts he brought back to his friends, and even if his friends were not in Binhai, he would find a way to mail them.

The whole afternoon passed like this.

Back in the studio, he began to think about his creation.

The materials for my creations are my own memories, photos and sketches from that time.

Although these sketches are not as detailed as photos, they truly record the thoughts at that time. After two days, some thoughts began to become vague. When looking at the sketches, some vague or faded emotions were rekindled.

Jiang Zhe conceived three paintings based on his impressions and materials.

One shows the coming and going of people in the exhibition hall, another shows him communicating with Anne in the gallery, and the other shows the street scene he saw.

Of these three ideas, the first one to take shape was the interior scene he saw at the Metropolitan Museum of Art.

He chose to look from a low point to a high point. At the top of the picture is the skylight of the hall.

The tall and spacious interior architecture, the large number of visitors, the interior furnishings and artworks all showcase the tranquil atmosphere inside the museum.

Although it was just a draft, he was quite satisfied with the result.

He was ready to draw a draft, and instead of rushing to draw the final draft, he drew another rough draft.

The second draft shows the street scene he saw during his commute.

Jiang Zhe passed by Fifth Avenue several times and was deeply impressed by several distinctive street scenes.

When he was creating, he did not depict it completely according to reality, but made some changes.

In the painting, there is a road extending into the distance. The building on the left is in the shade, and light comes in from the upper left and shines on the building on the right, creating a strong contrast between light and dark.

The buildings on both sides and the road in the middle extend into the distance, creating the effect of high-rise buildings standing side by side in the city.

Most of the central street is in the shadow of the building on the left. In order to create a special effect, he considered adding street lights and car lights in the shadow to create a busy effect. The time in the painting is daytime, but the shadow of the city has some night effects, which will give a magical feeling.

When depicting the specific content, Jiang Zhe did not draw too much detail, but used pencil to imitate the effects of color blocks and brush strokes.

For the third idea, he still couldn't draw a satisfactory draft, so he simply stopped and used watercolors to paint the first two drafts into color drafts.

On the third day after returning to Binhai, Jiang Zhe received a call from Wang Zhen.

She said she has contacted several manufacturers who can make custom brushes.

Jiang Zhe took the watercolor he had just finished to Wang Zhen's gallery and asked her to take a look at it for him.

When she arrived at the gallery, the staff told her that Wang Zhen was receiving guests.

Coincidentally, Jiang Zhe saw Mou Xing, Fu Min, and Lan Xin busy in the gallery, so he returned to the car and took out gifts for the three of them.

He brought back different books for three classmates.

"Thank you."

The three accepted the gifts, expressed their gratitude, and asked him how much the books cost.
Jiang Zhe said that this was a gift for them and he would not discuss the price.

The books Lan Xin received were Chinese art collections from the museum, including calligraphy and paintings, murals, and several garden pictures.

She looked at the printing of the book and guessed that it should not be cheap. Although Jiang Zhe did not talk about the price, she was thinking in her heart, what should she give in return?
At this time, Wang Zhen sent away the guests, and when he heard that Jiang Zhe had arrived, he walked over to where the few people were chatting.

Fu Min said to her, "Manager Wang, next time you have a chance, can you take us there to broaden our horizons?"

Wang Zhen said, "Of course, I will consider it if there is a chance. Our gallery has an agreement with galleries and auction houses in New York, and we will try to get your works to have a chance to go abroad. By then, there will naturally be a chance to go abroad."

Jiang Zhe thought to himself, Wang Zhen is indeed good at making empty promises.

Wang Zhen asked Jiang Zhe to go to the office to choose a place to make brushes.

Seeing that they had something to discuss, Fu Min and the others expressed their gratitude to Jiang Zhe again.

Jiang Zhe followed Wang Chen to the office.

Wang Zhen took out some documents and said, "This is an old factory and workshop that I found and is still in production.

One is an old factory in our province, and the other is in the south.”

Jiang Zhe first looked at the information of old factories in the province.

This manufacturer has been producing brushes and oil painting brushes.

He immediately called and inquired about the details of the custom-made order.

After consulting, he decided to order a batch of oil painting brushes from this manufacturer. The brush head materials include pig brown, cow ear hair, horse hair, etc. In addition to the difference in size, the brush head models also include flat head, pointed head, round head, fan-shaped, etc.

There are seven pieces in a set, and a total of 50 sets were ordered.

Jiang Zhe also specially selected high-end materials to make the pen barrel and packaging box.

Calculated in this way, each set of brushes is quite expensive.

Jiang Zhe felt sorry for the expense, so he could use these brushes himself or give them to friends.

(End of this chapter)