Lin Haiwen's very sincere and straightforward speech spread quite quickly among Gao Mei's students, including students and young artists from major art schools in Paris and even in Europe. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

After all, it's the age of the internet and social media.

Whether from the circle of friends or from the public platform, Lin Haiwen's earth-shattering self-positioning is really impressive.

For example, Artur, his friend Bernard and others, who have publicly sprayed with Lin Haven on Facebook, will inevitably say something sour. Of course, they are not as shameless and open as Lin Haven, the so-called sour words, that is to say, Lin Haven's princess sells melons, and old melons are new melons and so on.

However, there are people who eat melons who say it more bluntly.

"It's obvious that he is ignored, and in his mouth, it becomes a precious opportunity for self-improvement, which is really unconvincing. ”

"You really don't think that Lin's smile wants to be the same as the Mona Lisa, Lin Lisa, hahaha. ”

"To be honest, I think Lin Haven's heart is really too strong. ”

"I wonder why the people on the scene don't ask Lin Haven a question? He's a very accomplished young painter, isn't he? He's only 22 years old, and he's already a master of his skills. ”

Of course, there is no answer to this question.

The organizers of Paris Gau are also exploring this question, because they have not thought that neither Adrian nor Lin Haven will ask questions during the exchange stage. These two are definitely the most influential figures among contemporary painters, and they will not end up like this.

But Lin Haven, that's it!

They can't call and ask the people on the registration form, why don't you ask Lin Haven, if it gets out, it's even more big news.

What was mixed up in this sudden incident was the evaluation of Lin Haven's "Flying Buddha Picture", which was gradually published in European newspapers and periodicals.

"This is a work with religious overtones, in the East, somewhat similar to our Madonna, a group of women who have the nature of protectors in Buddhism, ascending towards the Buddhist belief totem Buddha. Any viewer of a painting can tell that this is a wonderful work – unlike many abstract works that emphasize the inner and the high demands placed on the viewer. When the audience is faced with "Flying Buddha Picture", they have the feeling of watching the works of classicist masters, such as Ingres's "Spring", Rembrandt's "Night Watch" and so on.

Compared with the earlier "Mother Earth Goddess Gaia", Lin Haven's technique is more mature, absorbing more experience from the old masters. In addition, it is important to note that, as Professor Tunit of Paris Gome argues, a new classical expression, which he calls protoclassicism, is increasingly prominent in Linhaven's work. If Ingres is a painting master who unveils the last corner of the veil of the goddess of nature, then Lin Haven has been trying, or has preliminarily entered the mysterious and profound eyes of the goddess of nature.

It is difficult to say that he has become a great painter alongside Ingres, but there is no doubt that he has gone the furthest in terms of breakthrough and innovation among the classical schools in the world. ”

This review and appreciation published in "Art Review" is the first time that Lin Haven has received this treatment. It's not that Lin Haven's qualifications were not enough before, and the forced standard of "Art Review" was not so high that non-masters couldn't get it, but it was mainly an opportunity, the works that Lin Haven supplied to the Barrow Gallery had a deliberate control style consistent with "Mother Earth", compared to the beautiful "Mother Earth", although the latter works were not cheap, their influence was much weaker.

The writer is Lo Weir, the critic of "Art Review", a professional art critic, who can see the true meaning of life, the truth of history and the origin of life from the spiral stripes on the "blackboard". It can't be said that he is good at fantasy, but at least he is a kind gentleman with a sensitive heart and rich feelings.

The significance of Will's essay is not that he even puts Haven Lin and Ingres together, but that he quotes one of the concepts of Tunnet, which is derived classicism.

As a well-known master painter at that time, Tuunit talked about Lin Haven's style in his comments early on, which is the source classicism. But it has not been recognized by everyone, firstly, because Tunit will not sell his strength to carry a sedan chair for Lin Haven, and bombard the art world repeatedly, and secondly, because the concept of oil painting genre is a very important problem.

This is a matter of art history, Lin Haven wrote "Western Art History", maybe someone will write it in a few decades, then Lin Haven's source classicism has a separate section.

Of course, this kind of important thing is not something that can be recognized casually.

However, compared with the previous works of the "Gaia" period, "Flying Buddha Diagram" has a great breakthrough in style - Rembrandt's Light Sense Secret Book pushed the experience value ratio of Van Eyck's source levitation ball to more than 50% in one fell swoop, so that the master bubble appeared, and Lin Haven was able to perfectly imitate Freud, and it was also because of this.

In addition, under the full play of Lin Haven, the works created also have a richer energy that points directly to the heart - in Lin Haven's own opinion, it seems to have more and more of a sense of heavenly demon phantom magic.

Standing in front of the painting, the viewer can reach the religious connotations of compassion, joy, peace, and detachment.

It's a very mysterious feeling, and it's not so obvious, after all, the experience value is still low, if it reaches 60%, or even 80%, Lin Haven feels that his paintings at that time may really have the feeling of a magic scroll, which can show a lot of subconscious level things.

Will obviously does have a certain ability to appreciate it, and he can see that this "scenery in the eyes of the goddess of nature" is very remarkable.

It is enough to open a new era of classicism and continue the life of classicist painting, which has been stagnant for 400 years.

"Art Review" gave such a high evaluation, and other journals were not low, although it did not reach the level of founding a sect, but it also made it clear that Lin Haven's works have indeed made leaps and bounds - painting is like this, no one says that you have improved, you have not improved, some people say that you have improved, you have not progressed - things outside the natural sciences, there is no quantitative standard, it is so.

Fortunately, Lin Haven has indeed improved, whether it is actually or in other people's mouths.

(To be continued.) )