Chapter 245 Future Artist
After a sumptuous dinner, Trini sent Van Dellentrön to a dedicated guest room to rest - the full bathroom facilities would definitely satisfy him. It is a kind of "local" inertia to please people from the "central government", and the Dutch in the 17th century were not exempt from this custom.
Mr. Leib Trini returned to his studio. This is a large room by any standard of time and space, with large glass windows that are extremely luxurious by European standards. Mr. Trini's daily work provided ample light.
The studio, like all artists' studios, is a bit messy. The huge workbench is piled with paper rolls, and there are brushes and paints everywhere - many of which are European goods shipped from Batavia.
Many plaster heads and statues are displayed on shelves along the walls, and easels and painting stools are arranged in a semicircle in the middle of the room. This is the equipment used in Trini's drawing class.
In the corner of the room is his carving workbench, and there stands a semi-finished stone carving - this is an order from the Australians, who want to build a small victory monument under Chengmai City. From design to engraving, Leib Trini was responsible for everything. His order went far beyond that.
In the history of art, Italian Leib Trini is an unknown person, but in terms of both pure art and industrial arts, he is a "master" figure in Lingao.
In the studio there are small coke ovens, crucibles of various sizes for melting glass and metal, and various tools for making glass and metal crafts are placed on the table. Here he manufactured colored mosaic glass and various metal ornaments. From the wrought iron ornaments inlaid with the Latin letters "s?s?a?e" on the lintel of the Senate to the various medals and coats of arms issued by the Senate...
The Australians' demand for fine arts was so great that Trini found that his main time was not engaged in consular or intelligence work, but busy completing orders from Australians.
He sat down on his wicker chair, lit a cigar, and smoked it slowly, savoring the aroma. Cigars made by Australians are a luxury product locally, and it is said that only "elders" can enjoy them. But to Trini, Australian cigarettes are just a processed version of American tobacco - just like those cheaper paper cigarettes.
Luxury goods in this time and space are generally characterized by their remote origin and rarity. The two complement each other, and the distant ones are naturally rare. Just like Chinese silk and porcelain, although they are not everywhere in China, they are not priceless items. Once they cross the ocean and are transported thousands of miles to Europe and America, their value will increase tenfold or twentyfold. The smooth arrival of a ship can bring back countless wealth. Purchasing weird and rare items from distant places and then transporting them over long distances to earn high profits is the most common trade model in this world.
Australians are always changing things up, using some secret method that is not known to everyone to increase their value. Whether it’s the “Datang Princess” wine they sold in Guangzhou in the past, or the cigarettes and cigars they sell now.
Strictly speaking, the Australians don’t have anything that the Europeans and Chinese don’t have – it can even be said that, except for their weapons, there are no real “Australian goods”. All the so-called Australian goods are in Lingao. , manufactured using raw materials from China and imported.
After smoking the cigar, the room was completely plunged into darkness. The Dutch servant, who always had a straight face, walked in. He came in holding a candle and carefully lit the gas lamp with an explosion-proof lampshade in the corner of the room. The whole room was soon filled with light.
After lighting the gas, he withdrew. Trini's spirits began to perk up - his apprentices were about to come to study with him at night.
I don’t know why Australians are keen on working at night. Of course, they also have this condition: the bright gas lamp allows him to sit on the wicker chair and still see clearly a large-sized oil painting on the easel: this is Lingao Seminary It has been ordered and will be used to decorate the Bairen Cathedral. The Senate half forced and half induced Trini to give fifteen students to study art, and several of them who showed sufficient talent have been accepted as disciples by him: a 12-year-old girl made Trini have wild dreams every night.
Trini likes the attitude of Australians towards women. They don't care about letting women appear in all situations, let them be craftsmen, farmers, engage in all walks of life, have free contact with men, and even let girls go to school. , acting as officials, which makes the whole society more colorful - especially the Australians who make all female students wear immoral short skirts, even to the knees! It is said that on some special occasions, women even wear skirts that reveal their thighs. Mr. Trini is not a person who has never seen women's breasts. Like all Italian painters, he has painted many women's breasts, but women The appearance of a student wearing a short-sleeved top and short skirt aroused his desire more than a naked girl.
Australians are very keen on **women in paintings, but the religious affairs officer He Ying gave him clear instructions to only draw **women with religious themes - in most cases they must have wings, and they must only appear. In very few specific situations, such as in front of martyrs, in the sky behind senators, and in church icons approved by the Religious Office, there are always one or two saints in front who have the faces of certain senators, such as It was Dean Wu Shimang who offered sacrifices to the Holy Son, and it was Chairman Wen with wings who shot down the six-winged beauty with a flaming sword...
Of course, these unhappiness could not shake Trini's love for Lingao. The Australians provided Trini with high-quality paper, canvas, dip pens, high-quality ink, and previously unheard-of absorbent pens and pencils.
Trini is very fond of Linko’s drawing tools, especially drawing pencils: various types of drawing pencils with different shades greatly reduce the painter’s workload when drawing sketches. As for the plaster heads, he admits that this is a wonderful method - many people who study painting cannot afford marble replicas, and the most beautiful sculptures can easily be copied in large quantities using molds and plaster casts. Watch.
Four of his best students came in, three boys and one girl, and bowed to him. Then a young man in uniform walked in. He stood up and told the visitors with a smile: He could not speak Chinese yet, so he could only teach the lessons through an interpreter. The translator with a serious expression is said to be a senator. He comes here every day to act as a bridge between the students and himself, never missing class regardless of rain or shine, and the students he serves are all the most ordinary Chinese children from humble backgrounds. This makes Trini full of Australian elders. Got respect.
Trini taught these four students in a traditional mentoring manner. The apprentices do some simple auxiliary work within their capabilities, observe what he does, and he will give some pointers. This was also the traditional teaching method of Italian artists during the Renaissance.
"What class do we have today?" the translator asked.
“In the oil painting course, we start with the most basic preparation for painting,” Trini said.
To paint an oil painting in the 17th century, the painter first had to be a craftsman. In the old time and space, you could just go to the stationery store and buy all the painting tools and start painting. This is not feasible in this time and space. Whether it is canvas, paint, oil, or even brushes, they all need to be prepared by the artist's own hands.
There are many small drawers in the corner of the room, and the drawers are filled with paints shipped all the way from Europe. The pigments are not in tubes, but various solid fragments, mostly minerals, but also products from plants and animals. The most peculiar one is the blue broken glass produced in Venice - used to prepare a more common concoction. blue. On the table were bowls and dishes of various sizes.
Trini taught them step by step how to select paint chips, break them into the right size, and then grind them. The grinding is done step by step, first in the larger mortar and then in the smaller mortar. Until it becomes a powder of different thicknesses that can be prepared.
Students gradually become interested in work. They were curious at first, and then changed their serious faces. They helped the master prepare a poisonous potion: dissolve arsenic disulfide and mercuric chloride in alcohol, and then pour it on the wooden board - used to prevent Woodworms infest the boards. Then they applied the first heavy weight, covering all the seams and cracks with a mixture of alabaster, resin, and **, and smoothing out the uneven places with a smooth sanding iron.
Work always falls into the master's hands easily and quickly, as if it is a recreational activity. While working, Trini taught the skills of preparing various oil painting tools: teaching students how to bundle the brushes: from the thickest and hardest bristle pen wrapped in the lead head, to the thinnest and softest millet inserted into the goose quill. Rat brush: He also tried to use the Chinese brush, but he always felt that he was not very good at it.
The students were eager to try it - although it was simple and easy to watch the master do it, doing it themselves seemed clumsy. Then Trini slowly heated a pure oil on the stove: pressed from the seeds of hemp. Because of its mild hallucinogenic effects, the Senate required them to wear masks when using heat.
The students followed his instructions and rubbed the drawing board with small pieces of sheepskin dipped in hot sesame oil. Let the drawing board fully absorb the oil.
"You have to rub it while it's hot. If it's cold, you won't be able to inhale it." Trini kept instructing the students.
The young senator stood aside with interest, translating Trini's instructions and students' questions from time to time. Watching their every move with interest. He noticed that the Italian turned his attention to the female students from time to time, and he smiled knowingly every time he was more focused when instructing the female students.
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