Gu Weijing was originally in his room dealing with the news about orders on Fiverr. When Uncle Sakai came to the door, his grandfather called him out.
"Were you the one who painted these two paintings?"
Uncle Sakai has always had a good impression of Gu Weijing.
At this time, he asked straight to the point.
Gu Weijing had nothing to hide and nodded.
"You are the master that the translator said, sorry..."
"Oh! You have great eyesight. Lian Shengzi didn't pay attention to that dirty work at the time, but you saw it."
Uncle Sakai is quite free and easy.
He shifted his gaze to the two paintings drying side by side by the door. "He is a good young man who is learning painting. He seems to be very suitable for Impressionism."
He is a true connoisseur, and he can naturally judge from the dryness of the paint. The two paintings were created within a month.
Compared with the realistic oil painting, the second painting is almost a completely different improvement.
Perhaps Gu Weijing himself is better at copying.
However, the control of the brush and the sense of coordination between the two paintings are not on the same level at all.
The progress is really great.
"Perhaps...he realized something from that painting when he copied it."
Uncle Sakai thought to himself.
Many painters have such moments.
Especially in your thirties and forties, your artistic style enters a mature stage.
With past practice and accumulation, the paintings gradually show their personal style. As long as you have some enlightenment occasionally, you will quickly make a big jump compared to before.
Although Gu Weijing is a little younger.
However, there is no shortage of geniuses in the art industry.
Compared to Titian, who was in his twenties, he had already become a famous top painter in Florence.
The level of this painting is not too incredible.
"I don't know how long this state can last."
Uncle Sakai once again quietly raised Gu Weijing's evaluation a few points in his mind.
It is certainly difficult to become successful in the art industry.
But with such good painting skills at such a young age, I have the capital to succeed.
certainly,
It's just capital.
But since Gu Weijing can be favored by Professor Lin Tao, there is no shortage of noble people to lead the way.
As long as he realizes this a few times in the next ten years and his luck is not too bad, there is no reason why he cannot become a quite successful painter.
"Can you take out the original painting you bought so I can admire it?"
After a few polite words, Uncle Sakai immediately put forward the main purpose of his trip.
It was too dark that day at the calligraphy and painting night market, so he just glanced at it hastily and intuitively felt that the old church looked good.
If it is an ordinary painting, if you miss it, you will miss it.
Professor Sakai himself is a great expert in oil painting, especially in Japan where there are many Impressionist collections. He has never seen any good paintings.
Not to mention anything else, there are not even ten paintings that Monet himself got his hands on at the invitation of private collectors, but there are still five or six paintings that are not in the market.
However, there is something really different about that painting.
Impressionist painters are sometimes nicknamed the Sunshine School. Their main focus is the hazy effect of the mixture of light and air on the scene under the sun.
The dark tones of Impressionism are like a flame sealed by cold ice crystals. Color and emotion must achieve a delicate balance and blend with each other.
It’s not that you can’t draw,
If you are not careful, the picture will be dirty.
Such good paintings are rare.
It would be a pity to miss such a painting.
Even if you can't buy it, Uncle Sakai thinks it would be nice to appreciate it.
Therefore, before leaving Yangon, he made a special trip to find out the buyer's address and made one extra trip.
First, he was a little curious to meet the young man with vicious eyes.
Secondly, Uncle Sakai really wanted to take a closer look at the details of the painting.
Gu Weijing turned around and took out the "Old Church in a Thunderstorm" from the studio.
Good paintings are not afraid of others’ appreciation.
From a utilitarian point of view, as for the market value of a painting by an unknown artist, ten thousand words from an unknown boy about how good the painting is are not as good as a casual comment from Professor Kazunari Sakai.
Professor Sakai took the frame with both hands and looked closer at the light to observe the details of the painting's brushwork.
"Hmm...a very good Impressionist painting, very nice."
He emphasized his tone slightly and raised his eyebrows.
Now the whole painting has been taken care of very cleanly.
Uncle Sakai immediately judged that although the painting skills of this painting may not be called one of the top paintings among Impressionists, it has already entered the threshold of quasi-first-class painting.
If placed in an ordinary art museum, it would definitely be considered a very good collection.
He stepped back slightly to observe the overall impression of the painting from a distance. The reason why Impressionism is called Impressionism is that it requires viewing the fusion of color points from a distance.
"The color processing is also very good...it reminds me of Monet's "Rouen Cathedral"."
Uncle Sakai made the final evaluation: "Great painting."
"What is Rouen Cathedral?"
Old man Gu Tongxiang asked on the side.
There is relatively little information about art in Yangon, and he is not very interested in Impressionist oil paintings, so he is unfamiliar with this name.
"Impressionism basically has no works with religious themes, but among the works depicting architecture, the most famous one that belongs to the same church category as the subject of this painting is Monet's "Rouen Cathedral."
Sakai Katsuko found a picture of "Rouen Cathedral" on her mobile phone, handed it to Gu Tongxiang, and explained,
"Rouen Cathedral is the most majestic Gothic building in France. Mr. Monet has painted more than 30 works about the church. They were painted under different sunlight in the early morning, noon and dusk. The bottom of the sky The colors range from blue, yellow to rose. But even Mr. Monet has never painted this thunderstorm theme."
Sakai Katsuko stared at the picture frame in her father's hand, then turned to look at the dry oil painting at the door.
She finally couldn't help but speak.
"It seems that there are only two colors, the white church and the dark sky, but the colors change everywhere. How did you draw this thundercloud? This kind of rolling and flowing feeling is like a living thing. It is really wonderful to draw. "
Sakai Katsuko said this to Gu Weijing.
My father told me that the biggest shortcoming of her current works is the paleness of her emotions.
Always empty dead things - this is Uncle Sakai's evaluation.
Sakai Katsuko could feel what her father meant, but it was easier said than done.
No matter how many different brushwork techniques I tried in the studio, I never made much progress.
How should you express your emotions?
She has been troubled by this problem for a long time.
Taro Komatsu's winning art exhibition work "Sunrise in Osaka" is the best painting of emotional expression among the young painters Sakai Katsuko has seen.
Whether she likes her mother's hint of getting married to Komatsu Gallery or not.
Even Katsuko Sakai will not deny that Taro Komatsu is a good painter.
However, Komatsu Taro's Austrian separatist painting style, which was influenced by his father, almost completely gave up the expression of lines, spreading colors wantonly over large areas, and showing vague, chaotic and ambiguous emotions, which is consistent with Gu Weijing The difficulty of copying this painting is completely different.
You can tell just from the theme.
"Sunrise in Osaka", the topic itself is very clever. Red sun, light blue sky, dark blue sea. You can combine these colors at will, and you can draw them casually without going off topic.
However, Gu Weijing copied the feeling of thunderclouds in "The Old Church on a Thunderstorm Night" - the dark clouds contained a trace of lightning rolling, and the hidden colors gave Sakai Katsuko a completely different feeling. New feelings.
She originally thought that no one among her peers could draw better than herself.
At this time, when I saw Gu Weijing's paintings, even if they were copied works, I admired them, but also felt a little bit competitive.
"How did you paint the base color... was it a mixture of red, blue and gray... No, you don't need to tell me. Can you give me a palette and canvas? I want to study it myself."
Sakai Katsuko frowned slightly, trying to figure out the performance of the oil painting.
Gu Tongxiang brought the paint box and palette.
Sakai Katsuko took the painting tools, found a mat, sat cross-legged in front of Gu Weijing's copy work, and began to try color combinations.
"Professor Sakai, what do you think the market value of this painting is?"
Although this question is a bit tacky, Gu Tongxiang still wants to know how much this painting can sell for.
"Tens of thousands of dollars."
Uncle Jiujing made a rough estimate.
"If it is a market transaction, collectors actually pay more attention to the investment prospects and the reputation of the creator. The painting itself is very good, but the painter is worse. It belongs to the category where the artistic value is higher than the market value. There is no way. thing."
Uncle Sakai thought for a while: "If this work is to be sold, I personally would be willing to pay $60,000 for it. I can also recommend a few friends who are Japanese collectors to you. But it will probably only cost this price."
Gu Tongxiang sniffed hard.
$60,000,
The per capita monthly income in Yangon is more than one hundred US dollars, and US$60,000 is equivalent to a person going without food or water for fifty years.
The first painting his grandson bought set a record for the most expensive art work that had been handled by Gu's calligraphy and painting shop in the past five generations.
Professor Sakai seems to really like this painting.
The price is quite generous for a work by a small painter who has no story to tell but only for artistic appreciation.
It shouldn’t fetch a higher price at the auction, and even if the buyers come with the intention of making money through art speculation, it is very likely that the auction will fail.
But the old man still did not express his opinion. He turned his head and looked at Gu Weijing: "This is your painting. You make your own decision. Don't feel any psychological pressure."
"Sorry, Professor Sakai, I don't want to sell this painting. I really like the sense of communication between this painting and me. I want to spend some time copying it."
"Think about it, there will be opportunities for copying at any time, but not everyone is willing to pay such a high price."
Uncle Sakai was not angry, he just stared at Gu Weijing.
Gu Weijing shook his head.
He knew that Uncle Sakai had given a very high price, but he still didn't want to sell.
"Sorry, Professor Sakai."
Uncle Sakai, instead of looking angry, seemed to appreciate Gu Weijing even more. He patted Gu Weijing on the shoulder.
"There's no reason why you can't become a good painter. I don't think Professor Lin will give me this opportunity. But if you really don't have a good place to go after graduating from college, you are welcome to come to my studio."
Since people are not willing to sell,
Uncle Sakai doesn't force it either.
"Katsuko, Tsunasho, let's get ready to leave."
"You go first, I will take a taxi back to the hotel later."
Sakai Katsuko stubbornly refused her father's suggestion.
She is now sitting in front of Gu Weijing's copy work, holding a palette in one hand, and the brush in the other hand is constantly experimenting with new colors on the palette, and is constantly smearing on the canvas on one side. .
Prussian blue plus rose red plus a very small amount of lemon yellow…
It should be the mixing of the three primary colors that produces this pigment effect...
But what is missing?
Sakai Katsuko frowned in distress.
"Katsuko, you need to use your intuition more when painting." Uncle Sakai shook his head and pointed.
"What's gut? Five percent lemon yellow."
Sakai Katsuko looked at the color palette in her hand, slightly raising her eyebrows, with a slightly confused expression like a housewife reading the ingredient list on a line of food: "Did I put more or less."
"Miss Katsuko, can I say a word?"
Gu Weijing said softly on the side: "It's not a matter of 5% or 4% lemon yellow. You focus too much on restoration and lack... truth."
Sakai Katsuko's oil painting foundation is better than Gu Weijing's.
And he was amazed by his sensitivity to color.
Yesterday, he needed to activate the calligraphy and painting appraisal skills to adjust the colors. Sakai Katsuko just relied on his intuition about the colors of the painting and adjusted them almost exactly.
The problem is that Sakai Katsuko's color tone is too good and her control of the pen is too precise, resulting in a lack of variety.
Impressionism emphasizes change, and sometimes the color changes with every stroke.
Although there is only a slight change, it has lost the free and easy essence of Impressionism.
Gu Weijing dared to use his head to guarantee that,
The original painter named Carol must have painted the scene in front of the rolling thunderclouds on a rainy night.
Thinking of this, Gu Weijing suddenly realized something very important.
"Uncle Sakai, have you heard of this female painter from Carol?"
In the world of painting, my knowledge is incomparable with Uncle Sakai. Maybe the other party has heard about the origin of the mysterious female painter Carol.
"No, if you've heard of it, I just told you."
Uncle Sakai shook his head and denied, "Probably some unlucky female painter of the 20th century. You also know that female painters will have much fewer opportunities. If it had been a century earlier, I probably wouldn't have agreed to let Katsuko Learn to draw.”
"It's not the 20th century. This painting should have been created in the 19th century, or even in the 1880s or earlier."
"What? Are you sure? Why do you say that."
Professor Sakai's face suddenly became serious, and he knew what this meant.
Impressionism itself is an art that was just born in the second half of the 19th century.
At that time, even Monet had just painted "Sunrise Impression".
He looked at this work with very mature techniques and thought it was a work from after the 20th century.
"That's most likely the case."
Gu Weijing told the reason for his speculation.
"This is going to be fun, kid."
Uncle Sakai shook the fat on his chin like a pit bull smelling delicious food.
"Although I still don't know who Ms. Carroll is, a female painter who can create works in this era must not be simple. Are you willing to listen to my suggestions?"
"You say?"
Gu Weijing signaled that he was all ears.
"With such a great opportunity, why don't you post an article and ask?"
Uncle Sakai looked at the picture frame and suggested.
"Publish an article? You mean newspapers and magazines, or something like "Oil Painting"?"
"Art newspaper? Humph, they deserve it too."
Uncle Sakai sneered: "Although "Oil Painting" is very influential, they don't accept submissions from the public. And it would be too wasteful to publish this kind of subject in an ordinary art magazine."
"what do you mean……"
At the same time, Mr. Gu Tongxiang's pupils suddenly shrank deeply: "Professional papers and journals?"
"Yes, an unknown female impressionist painter from the 19th century with a mature artistic style has been discovered. Especially this painting has a rare dark background. This kind of discovery can at least publish an SSCI, but I don't think I can even interview one. Try A&HCI.”
Uncle Sakai asserted.
The Social Sciences Citation Index created by the American Institute of Scientific Information (SSCI) includes fifty-eight subcategories related to art, philosophy, law, etc. It is a companion to SCi, an international core journal in science and engineering.
This is the world's most authoritative art professional paper journal, full of gold content.
Liberal arts journals are different from science and engineering journals. Publishing papers in liberal arts journals is very difficult, but if they are professional, it is very difficult.
Especially for some unpopular art style research, it is likely that a professor will publish an article every ten years.
For a good science and engineering major, master's students may need to submit several SCIs before graduation.
According to the graduation standards for art doctoral degrees from the four major art academies in Dongxia, as long as you can publish an SSCI, you will definitely be regarded as an outstanding graduate.
If you switch to domestic core journals, you will need at least three or even five articles if you want to graduate.
As for A&HCI, the full name is "Arts and Humanities Citation Index", which covers more than 70% fewer journals than SSCI. It has always been hailed as the crown jewel of art majors.
"Is it really okay to be able to publish a paper, and it's still A&HCI?"
Just faced with 60,000 US dollars, Gu Tongxiang could still maintain his composure, but now he heard that he might be able to publish a professional paper.
The old man suddenly lost his composure.
Not to mention that East Asian calligraphy and painting circles have had scholar-bureaucrats since ancient times, and literati painters are respected. If they only know how to paint and have no culture, they will become low-level craftsmen.
In modern society, what kind of painter is the painter who stands at the top of the art circle?
If the art master who established a sect is the emperor of the art country, then the professional scholar-artist must be a concubine or a prime minister, even if he is not a queen.
Their income may not be as much as that of the painters on the Forbes list of rich and famous people, but their social status is not far behind.
There are really too many uncertainties in the path of being a painter.
Three points to look at yourself, seven points to look at noble people. Drawing well is always just the bottom line for success, but professional scholars have the ability to determine their own destiny.
An A&HCI can not only easily knock on the door of any art school in the world, but even think about the tenured teaching positions in European and American universities that are as valuable as gold in the future.
A painter's career is usually tied to a paintbrush.
Some painters, like pianists, even insure their hands for fear that one day they will no longer be able to hold a paintbrush.
And if his grandson Gu Weijing can get an A&HCI, he will not dare to say anything else, and he will never die of hunger in this life.
Even if you are not good at painting, it is still possible to go to a private art museum, spend more than ten years and become a curator.
"decide as things go."
Even with Uncle Sakai's current status, he can't guarantee that he can publish an A&HCI, so he can only say it in an uncertain tone.
"If you have professional guidance. It's probably possible. I'm not sure. You can try "Asian Art" or "Taylor Art". I saw an article "In the Basement of Anagni" on Taylor Art a few months ago. "The ornamental and visual entanglement", the theme is just a mural... The field related to female artists has been an academic hot spot in recent years. An unknown female early Impressionist painter and rare cold-toned Impressionist works, these two alone This content is enough to arouse the reviewer’s interest.”
Unlike science, the difficulty in studying many literary and art magazines is not the research, but the lack of research materials.
A statue that may be buried deep in the dust, a mural from ancient times... After discovery, it only takes a few months for a large number of papers to be produced around them.
But discovering them will require more than ten or twenty years of related archaeological work.
This may be more like an astronomer observing stars at an observatory with a telescope worth billions of dollars. Finding stars is just the last step to publishing a paper.
Let's put it this way, if you have the ability to find Van Gogh's diary where he recorded his inner emotions when he was painting, you can excerpt and sort out the contents, and then you can submit it as you like.
But you can't find it.
If Gu Weijing hadn't been to the Good Luck Orphanage, no one in the world might have discovered the secret of this painting.
There seems to be a problem with the display of this chapter title.
(End of chapter)
