The Pentium Era - South to North

In the next few days, Zhang Chen was either in the library of the China Academy of Art or in the warehouse of his Lakeside Oil Painting Gallery, preparing materials for the upcoming "Painting Theory" shoot.

Zhang Chen knew that he couldn't push this job away. Even if it was for Liu Chengcheng's sake, he would help Liu Qing make this show, which could be regarded as an indirect thank you to Liu Chengcheng.

What's more, this is what Zhang Chen likes to do. It is very meaningful for Zhang Chen to introduce his favorite oil paintings to more people and let them go out of this warehouse and into the eyes of more people.

This warehouse has a constant temperature, which is almost the same all year round. No matter whether it is cold in winter or hot in summer outside, Zhang Chen felt a little sorry for them when he looked at the paintings in this warehouse. He felt that they were about to turn into delicate aristocrats here. However, they should not be like this, they should be full of the smoke of reality, they should not be dead, but lively.

They, especially the paintings by the old gentlemen from the National Art College, were born in such a passionate era.

For example, this time Zhang Chen picked out a still life sketch by Zhu Teh-Chun. The whole picture is very simple. It is a simple wooden table with an overturned basket on the table. Inside and outside the basket, there are more than a dozen potatoes. Zhang Chen I feel that these potatoes are thicker than those painted by Van Gogh.

When Mr. Wu Guanzhong visited their oil painting studio that time, he saw this painting. He told Zhang Chen that it was painted in Yuanling, Hunan. The reason why he remembered it so clearly was because that day, he also painted a similar painting. He remembered that that day, four or five classmates painted the same still life together.

When they started painting, there were still a dozen potatoes on the table, but by the time they finished painting, there were actually no potatoes left on the table.

"Why?" Zhang Chen asked curiously.

"Lin Wenzheng and the others took them away, cooked them and ate them. At that time, everyone didn't have enough to eat every day. How could we let go of so many potatoes?" Wu Guanzhong said, "The ones who suffered the most were us painters. By the time we finished drawing it, there weren’t even any potato skins left.”

Mr. Wu Guanzhong laughed after saying this, and Zhang Chen also laughed.

Mr. Wu and Zhang Chen said, this is Chu Teh-Chun. We have traveled all the way to promote the anti-Japanese war, dipping a brush in lime water and writing slogans on the walls and houses. This Chu Teh-Chun likes to write the slogans to the top every time...

Zhang Chenqing clearly remembers that yes, Mr. Wu did not mean the top, but the highest head. In many places in Jiangsu and Anhui, the top is called the high head. Even Mr. Fu Lei was translating "John Christopher" , Zhang Chen remembered that he would also use "high head" unintentionally, such as "the high head of the cabinet", "the highest head of the wall" and so on.

Zhang Chen asked Mr. Wu, why did Chu Teh-Chun do this and write it to the top?

"He is tall. Chu Teh-chun is over 1.90 meters tall. He said, aren't all Japanese shorties? If it is written as tall, the Japanese will not be able to reach it and cannot be painted out." Mr. Wu said.

When Mr. Wu said this, he couldn't help but laugh again. Zhang Chen seemed to still be able to hear his unrestrained laughter.

Zhang Chen selected ten paintings so that he could make ten episodes first. Zhang Chen began to collect information around these ten paintings. He wanted to be on CCTV. He did not dare to talk nonsense and it was not in line with his character. Since he had already agreed , Zhang Chen felt that he should do this well.

In their warehouse, along with the paintings, there are many reminiscences written by the old gentleman himself, as well as letters they exchanged.

At that time, when Zhang Chen and his colleagues were collecting these works, many of those old gentlemen who had been neglected all their lives really regarded them as their spiritual sustenance. They not only gave or sold their paintings to them, but also I also gave them my handwriting of articles and treasured letters between teachers and classmates for safekeeping.

Zhang Chen read articles and letters one by one, as if he had returned to that era and was immersed in the atmosphere of that time.

Zhang Chen looked at the ten paintings he had selected. Each one really had a story. There were those by William Cai, and there were the two paintings that Wu Guanzhong had selected and given to their oil painting museum. There were those by Wu Dayu, and those by Zhang Chen. Chen always believed that Wu Dayu could not be praised enough and he was an underestimated master.

Among the ten paintings selected by Zhang Chen, there is also one by Yan Wenliang. Yan Wenliang has nothing to do with the National Art School. This painting itself, like Yan Wenliang's other works, adheres to a plain style. Zhang Chen chose it because of its The story behind it is very interesting, but also a bit sad to tell.

Yan Wenliang's landscape paintings have the effect of stage sets, and he pays great attention to composition. When the moon and sun appear in his paintings, they always have a certain degree of drama. Zhang Chen used to refer to Yan Wenliang's paintings when painting scenery.

This work of Yan Wenliang is not a landscape, but one of his "Kitchen" series of paintings. This painting, and the other six works of Yan Wenliang, Zhang Chen and others are all from a good friend of Yan Wenliang and also a close friend of Yan Wenliang. He bought it from the home of an old gentleman who co-founded Suzhou Fine Arts College.

The old gentleman and his wife lived in a bungalow at that time. The room was fifteen or sixteen square meters, including the bedroom, living room, kitchen and dining room. The house was on a low ground, the room was very humid, and there was a heavy smell. musty smell.

Zhang Chen clearly remembered that when he and Yao Fen walked into the old gentleman's house, the painting was hanging on the wall, above the kerosene stove. There was no frame, just a stretched canvas hanging there. Although The signatures were already very blurry, but Zhang Chen could still tell at a glance that it should be the work of Yan Wenliang.

When Zhang Chen took the painting off the wall, there was a thick layer of grease on it. Zhang Chen didn't even dare to wrap the painting in newspaper. He was afraid that the newspaper would be stained with oil on the painting and would not be removed.

That day, Yao Fen was holding other paintings, and Zhang Chen was holding this one in his hand. They left the old man's house and walked to the car parked outside, letting the painting lie flat in the trunk.

Zhang Chen's hands were stained with grease. He washed them with mineral water and paper towels. They were still sticky to the steering wheel when they drove back to Hangzhou. It wasn't until they stopped at a roadside restaurant for dinner that Zhang Chen I went to the store's sink in the morning and washed my hands twice with dish soap before washing them clean.

Zhang Chen and Yao Fen joked that this painting "Kitchen" really looked like fireworks, and Yao Fen laughed.

Zhang Chen, Yao Fen and Zhao Xin all like this painting. In the middle of the painting is a huge stove. On the left wall are cupboards and ham and bacon hanging from the beams. There are several bamboo baskets, and on the right side of the picture, near the lattice window, is a chopping board, with a child, head tilted, lying on the chopping board and falling asleep.

The whole picture is dark in tone, resembling a quiet scene in the kitchen at dusk. From the half-open grated window, a ray of dusk light shines in and shines on the face of the child who is dozing lazily. This child must have I am hungry, waiting for my mother to come back from outside and make the kitchen noisy and busy again.

This dim and silent tone seems to have a kind of daily sadness. Adults may be worried and busy about big things, but for this child, he is only worried about why his mother has not come back.

Zhang Chen and the others returned to Hangzhou at around ten o'clock in the evening. They put the paintings in the warehouse and went home.

In the afternoon of the next day, Yao Fen called Zhang Chen and asked him to go to the oil painting studio immediately, saying that there was something wrong with the painting he bought yesterday.

Zhang Chen was startled and thought how could this be possible. What they bought yesterday were not only paintings by Yan Wenliang, but also works by the old gentleman himself. He also returned from studying in France in his early years. Although he was not well-known, his skills were good. Not low.

His experience as a classmate and colleague with Yan Wenliang also guarantees the authenticity of Yan Wenliang's paintings. What's more, Yan Wenliang's paintings were not valuable at the time. With this old gentleman's level, he would definitely not bother to make imitations or paintings. People, at least, still have some backbone.

Zhang Chen was thinking wildly while driving.

When they arrived at the "Lakeside Oil Painting Gallery" and walked into Yao Fen's office, Yao Fen and Zhao Xin looked at him laughing wildly. Zhang Chen asked, "What's wrong? It's so fake?"

Yao Fen nodded and said, right, right, outrageous, outrageously wrong.

Zhang Chen muttered, "Impossible, I can't possibly make a mistake."

Zhao Xin said okay, boss, let me show you.

Zhao Xin walked out and came back with a painting in his hand. He turned the painting over and stood it up against the wall. Zhang Chen was startled.

He saw that the painting was the "Kitchen" by Yan Wenliang that they bought yesterday. However, this painting was completely different from the one he saw yesterday. The color of the whole painting was bright and full, and it was not what they thought it was at all. Not a kitchen at dusk, but a kitchen in the morning.

What shines through the half-open lattice window is the morning sun, not the afterglow of the dusk and sunset. The sleeping child looks like he has had a full breakfast today, has nothing to do, and is lazily taking a nap. Sleep.

The scene that looked peaceful and sad yesterday looked so peaceful and peaceful today.

Zhang Chen couldn't help but laugh.

He understood that this was because the painting had been hanging on the kerosene stove in the old man's house and was the result of long-term smoke and fire. Today, after Zhao Xin and the others cleaned it, the original appearance of the painting was revealed.

Zhang Chen stared at the painting for a while and shook his head. He stood up, went to the shelf, and found a document bag. In the document bag, Zhao Xin and the others took photos of the painting before it was cleaned that day. photo.

Zhang Chen felt that this painting could be explained on TV. The focus was not on Yan Wenliang, but on the old man. When Zhang Chen went to Suzhou later, he went to the old man’s house again. The door was locked and he asked his neighbors. The husband has passed away, and the old lady was sent to a nursing home in the district by the street.

Zhang Chen saw the old lady in the nursing home. The old lady had Alzheimer's disease and could not recognize him at all.

Zhang Chen sighed.

He felt that similar things could be said on television.

He could talk about a group portrait that Rembrandt painted of the Amsterdam City Shooting Company.

After the painting was completed, the members of the Shooting Team took it back. Because the painting was too big to hang in the foyer, the team members took it upon themselves to cut off the periphery of the painting, which caused the entire painting to lose its original balance. .

The worst thing is that the hall where the painting was hung was heated by a peat fire. Over time, a thick layer of charcoal ash fell on the painting, making the entire painting dull. By the 18th century, People mistook this scene, which was originally during the day, for taking place at night, and named the painting "Night Watch."

It was also a subsequent cleaning and restoration work that restored the painting to its original appearance, but the parts cut off by the team members could never be restored.

When the members of the Archers ordered this painting from Rembrandt, one person paid one hundred guilders. If they knew that this painting would be worth hundreds of millions of euros in the future, none of them would have dared to do it. Crop the painting.

Thank you for the reward of two fishes, half drunk and half awake, at three o'clock in the middle of the night! Thank you Guandian Electrical and Mechanical, remember the original intention without seeing the future, book friend 20180327000144911, cup guy Api, Wang Huanxiong, book friend 160806065500057, book friend 120517063706816, book friend 120211102207691, wooden man’s monthly ticket! Thanks for all the votes and reading! I wish you all good health!