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

There were only three visitors in the exhibition hall.

Wang Zhen saw that Jiang Zhe was talking to an old man in the rest area of ​​the exhibition hall. Since he didn't need his company, he gestured that he would make a phone call and then walked out of the exhibition hall.

Jiang Zhe signaled to Wang Zhen that he had received it.

Because there were few visitors and Jiang Zhe didn't need to pay constant attention to them, he had plenty of time to chat with the old man, Chris.

"Church once created a seaside landscape painting of a beach in Maine. There are reefs, waves, and the sea extending into the distance." The old man said, "The art created by several generations of painters of the Hudson School has influenced many artists in the United States and even other arts. I see their shadows in some of your paintings."

The old man looked at Jiang Zhe and asked, "Do you know who influenced the Hudson School?"

Jiang Zhe thought, is this a test for me? He pretended to think for a while, then said, "It's the German artist Friedrich? I wonder if I'm right?"

“Yes, I can see that you have studied this artist.

Friedrich's art influenced many later painters, especially surrealists and existentialists, who were inspired by his works.

Thomas Cole is the founder of the Hudson River School of Painting in the United States, and was deeply influenced by Friedrich. Cole absorbed Friedrich's artistic ideas and borrowed a lot from Friedrich's painting techniques and content, and carried forward his artistic concepts in the American continent. Church and Bill Stander of the Hudson River School continued to develop this concept, creating the Mi style of landscape painting, which also influenced Hollywood film culture.

In this sense, Friedrich is the true root of the Hudson River School. Some films, especially disaster films and even thrillers, get a lot of inspiration from Friedrich's words. "

Seeing that the old man had talked a lot and looked a little tired, Jiang Zhe asked the staff to prepare a cup of coffee for him.

The old man took the coffee, said thank you, and after praising Jiang Zhe for being caring, he continued the previous topic: "In one of your landscape paintings, there is a figure with his back to the audience.

Can you tell me why that character is looking off into the distance, leaving only his back to the audience? "

Jiang Zhe replied: "The distance means hope. Although Friedrich's paintings are often filled with melancholy, you can feel the other side of melancholy, which is hope."

"Well said." The old man praised. "This form sometimes appears in Friedrich's landscape paintings.

When I admired your landscape painting, I also imagined myself as the protagonist, facing the vast scenery. "

The old man took a sip of coffee and continued, "I see that your painting method has learned the rigor and balance of the Renaissance style, while also using the color matching of Impressionism. Have you learned about American Impressionism?"

Of course I understand, and I even absorbed some nutrients, Jiang Zhe thought. But he saw the old man's expression, and considering the intention of his question, he replied that he had read some, but did not understand in detail.

The old man said: "Some of your works use delicate colors and vivid pictures. Watching them live gives you a sense of being there. There are also a group of painters in the United States who have continued the ideas of Impressionism and created some good works. You can study them."

Jiang Zhe handed the old man an introduction. "What do you think are the differences between American Impressionist painters and French Impressionist painters?"

Sure enough, the old man was tickled. "Cultural differences. The natural and cultural environment in which a painter grew up has a huge impact on his artistic style. American Impressionist painters learned and inherited the painting concepts of French Impressionism in many aspects. For example, in terms of color and the depiction of light and shadow, they were deeply influenced by Monet, Pissarro and others, but their landscape paintings are very different from the works of French Impressionism.

They describe the geography of the United States..."

When talking about American art, the old man was even more talkative. After talking about landscape paintings, he pointed to a work marked as sold and said, "I heard that this work has been bought by George?"

Jiang Zhe thought that the news spread very quickly.

He nodded in agreement.

The old man said: "George's collection vision is indeed very good, and he also knows how to invest, so many people are influenced by him. Although I don't agree with some of his ways of doing things, he chose this painting very well.

In this painting, the little girl looking at herself in the mirror in the room clearly uses the classic technique of the mirror in the painting. Do you know who first used this technique? "

Without waiting for Jiang Zhe to answer, he said to himself, "It's Van Eyck. His famous work is the Arnolfini Wedding. There is a mirror hanging on the wall behind the couple in the painting. You can see the backs of the bride and groom and the figure of the painter himself in the mirror. The appearance of this mirror inspired the entire European painting world.

Soon after, the Venetian painter Titian painted a picture called Venus Looking in the Mirror, which also used a mirror, and Venus's face could be clearly seen in the reflection; next, the great painter Rubens also painted a picture of Venus Looking in the Mirror; the Spanish court painter Velázquez was a painter who was particularly good at painting mirrors. His masterpiece, Las Meninas, is now a national treasure of Spain.

The most famous part of the whole painting is still a mirror, but the mirror does not reflect anyone's back, but the king and his wife. French painter Manet, who entered the Impressionist period, also painted a work with mirrors as the theme. In the mirror behind the bartender in the painting, you can see the lively scene of the bar..."

Jiang Zhe could tell that the old man was proud and wanted to show off, but what he said about the first person to use mirrors in paintings was Van Eyck was not correct.

Seeing the old man saying he was tired and taking a break, he promptly took up the topic: "To put it bluntly, the technique of mirror in painting is actually to add space to the picture, painting the invisible parts in the mirror to create that kind of visual area.

Of course, after the 20th century, mirrors in paintings were no longer just used to express space, but to express the creativity of the painter. "

The old man listened and rested. When he had rested enough, he said, "I personally like this technique very much. European artists have been using this technique for 500 years and can still come up with new ideas."

Although Jiang Zhe didn't want to destroy the old man's sense of pride, he had to say some things.

He quickly figured out how to express himself in a way that would both express his true thoughts and not embarrass others. After all, the old man came to show his support.

"Art requires innovation. You think Van Eyck was the first to use the mirror-in-painting technique, so his works influenced later artists, right?"

"Isn't it?" the old man asked.

Jiang Zhe said: "I also think that Van Eyck had a great influence, but he was not the first painter to use this technique."

(End of this chapter)