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

Mou Xing, who was in a state of excitement, gradually calmed down. It was certainly worth being happy that his work was selected. However, he had already thought about what kind of reaction this news would cause among his classmates.

Although there was no clear ranking of the professional level of classmates, everyone had a rough idea in their minds and generally recognized that Jiang Zhe had the highest level. Secondly, Fu Min was not much different from himself, and sometimes even better than himself.

Now, my work was unexpectedly selected, while Fu Min's work was not. How should I face this good classmate?

He lacked experience in this area, so he looked at Jiang Zhe. He thought that Jiang Zhe should have experience.

"Why are you looking at me? I don't know what to do. Be happy and face the good news calmly." Jiang Zhe was very calm in the face of such an unsolvable problem because he had a lot of experience.

"You'll get used to it after a few more experiences. Everyone has to adjust on their own." After saying that, he looked at his watch. "Let's go, it's time for class."

Mou Xing had no choice but to follow Jiang Zhe back. He was excited but also a little worried, which made it difficult for him to concentrate on painting.

Fortunately, because the models had not arrived yet, some people chatted and some took this opportunity to share their gains.

After class time, Teacher Lin came over with three models.

Close the door and adjust the lighting.

While the model was getting ready, Teacher Lin reviewed the drafts of many students, including Jiang Zhe.

Jiang Zhe already had a new idea, so he started to sketch again.

He changed positions and observed the model. After twenty minutes, he finally found an interesting moment.

The mental state of the model after she was a little tired was very interesting.

He picked up his paintbrush and quickly sketched in his sketchbook.

The model is leaning on a wooden stick with one hand. Although she is standing, she is using the most labor-saving standing posture.

Because of fatigue, his glasses were dull and he looked a little sleepy.

Jiang Zhe wrote down the character's state at that moment and drew it on paper.

This tired and sleepy state fits well with the model's appearance.

Jiang Zhe drew a simple draft, and then drew some important parts in the sketchbook, such as facial features, sparse hair, hands, etc.

While he was adjusting and perfecting the sketch, some classmates had already started drawing the final draft.

For students majoring in oil painting, observation and drafting are not a problem.

However, Teacher Lin has very high expectations for her students, and her comments can often be heard.

“Pay attention to the angle. When you observe the details, don’t forget it. Use the same observation angle for the whole work.”

"Don't be so rigid with the thread."

"...Don't describe the parts according to the image, but imagine them as plates, cylinders, or geometric shapes..."

Every teacher has a different way of teaching and idioms, so we can only try our best to adapt.

Because models need rest, students' schedules must also be adjusted accordingly.

In the afternoon, the models took their first break and the students began to move around and observe each other.

Jiang Zhe walked out of the studio, got some hot water, and breathed in some fresh air.

After I came back, I heard a lot of discussions in the classroom.

Some people congratulated Mou Xing, and others were asking about whose works from other majors were selected.

Jiang Zhe learned the result of the school-level selection from a few words, and he didn't know who leaked it.

He was confused, and Teacher Hu said that it would not be announced for the time being. Who is this? He couldn't hold his breath.

He walked into the classroom and many classmates saw him and congratulated him.

Jiang Zhe was already used to it, and he responded while returning to his seat.

Mou Xing saw Jiang Zhe come in and share some of the attention with him, and he breathed a sigh of relief.

When the two looked at each other, there was gratitude in his eyes.

Jiang Zhe asked the person next to him, "Who told you this news?"

"I heard it from my classmates in the sculpture department."

At this time, Fu Min came over and said, "Congratulations."

Jiang Zhe noticed that her smile was a little unnatural. He knew that she was feeling aggrieved, so he spoke to comfort her.

However, a few words did not have much effect. Jiang Zhe also understood that Fu Min had always felt that she was ranked second in the class and wanted to be ranked first, but now she was not even ranked second.

Soon, Teacher Hu walked into the classroom and asked the students to continue painting.

The students quickly quieted down and returned to their seats.

Teacher Lin walked around the classroom and keenly discovered that many students were somewhat absent-minded.

When she came in, she heard the students' discussions. She knew the results of the selection, but she didn't expect the news to spread so quickly.

I secretly cursed some people for losing their patience and started trying to find ways to adjust the students' emotions.

She gave individual explanations to some students who were not in good condition, or gave comments in a small group. During the explanation process, she intentionally used topics to encourage students and guide them to focus on creation.

A classmate asked a question. When he was reading in the library, he found that David and Poussin had painted the same subject. How should he learn, or who should he learn from?

Teacher Lin felt that it was difficult to explain clearly just by oral description, so during the model's second break, he brought out a small projector, borrowed the white wall of the studio, and played the slides.

The school’s slideshow materials are very rich, and you can find many pictures of famous works.

"Just now a classmate asked about the French painter Poussin.

I would like to talk about his importance first.

During the Renaissance, Italy, Germany and the Netherlands all had very important painters. During that period, there were no important paintings in France until the end of the Renaissance, when the French painter Poussin went to Rome to study Renaissance painting very devoutly.

Studying ancient Greek aesthetics seemed to be the consensus at that time.

When he first arrived in Rome, he drew models of ancient Greek sculptures for antique dealers, which helped him hone his modeling skills and gain fame.

He brought some aesthetic models back to France and initially established the earliest academic system.

During the golden age of French painting, especially in the 19th century, all painters were influenced by the paradigm established by Poussin.

One more thing. His system flowed to Russia and then to our country.

The first step in learning to paint, learning to paint plaster bodies and plaster statues, should start with Poussin. "

The monitor raised his hand and asked a similar question to Jiang Zhe.

The themes these painters depict are all mythological and religious, which are very different from the portrait sketches they are facing today.

Teacher Lin thought for a moment and explained: "European painters like to express their myths and fables. Venus on the sea, men and women with garlands, dance, angels, etc.

Regardless of the subject matter, what these painters want to express is not the subject matter itself, but their understanding and emotions, or like Poussin, they just want to show the beauty of painting techniques.

You can see in famous paintings before the 19th century that the postures and expressions of the characters are very similar to those of ancient Greek and Roman sculptures.

However, these masters did not simply copy the works of the masters. The techniques handed down from the Renaissance were given a new elegance by Poussin, David, Delacroix and others.

After Poussin, France became a major painting country in Europe, and several generations of French painters can trace their heritage back to Poussin.

Not only did French painters in the 18th and 19th centuries continue to be influenced by Poussin, but Cézanne also went to several places specifically to depict the landscapes that Poussin had painted.

I know that some of my classmates went to appreciate David's painting of the Sabine Women at noon, and also discovered that Poussin had painted the same subject.

The Impressionist Degas copied this work of Poussin when he was 24 years old.

Poussin was keen on ancient Greek aesthetics, and Degas copied it carefully, but the final effect was different from the original, and Degas' own characteristics could be seen in every stroke. Not to mention, Cézanne learned from Poussin, and his works had different styles.

I will now try to answer my classmates' questions.

Poussin imitated Greek aesthetics, David, Degas, and Cézanne learned from Poussin, but they ultimately achieved their own success.

From the perspective of painting history, when you study masters, you should think about what you want to learn, and eventually you will have to break away from the model you initially studied.

Matisse said, we all come from Cézanne, but his paintings are different from Cézanne. Cézanne said, I want to return to Poussin's balance, and his words are even less like it.

Poussin studied the Renaissance and the aesthetics of ancient Greece, but in fact, he achieved his own success.

This is my understanding, which may not be correct. Please think and analyze it yourself.”

Teacher Lin’s lectures were not long.

She borrowed examples from some famous artists to explain the direction of learning figure portrait sketching, and also used some successful examples to motivate students.

Although the case she talked about was too high and too far away, she still successfully shifted the students' attention from failure to the creation at hand.

Teacher Lin's words also made Jiang Zhe confirm his previous thoughts. (End of this chapter)