His own living expenses are divided into a part of the world's unequaled, so that the world's unequaled can continue his studies. Pen? Interesting? Pavilion wWw. ｂiquge。 infoThe Okada family is a big family in Jiru.,It's very powerful in the local area.,Okada's help to the world is just a gesture for him.,But it's a great favor for the world like no equal.、The world is very grateful to this brother all his life.。

When he was twenty-seven years old, because Okada's wife was pregnant, they planned to return to China to have a child, so they were left alone in Paris. After Okada returned to China, he did not forget Xing's younger brother who was overseas, and still sent him money regularly to help him complete his studies. The year after the Okadas returned to Japan, the world warriors also returned to Japan. After returning to Japan, he devoted himself to painting, and soon gained a high reputation in the Japanese art world.

But for some unknown reason, he later threw down his brush and turned to the art world to comment. The friendship he and Okada have cultivated since Paris has not changed, but has become an even more unexpected connection.

In 1948, at the age of forty-six, he married Okada's nineteen-year-old daughter An Zhi. Before that, the world was unequaled and had been alone, and it wasn't until this time that he ended being single, and he and Okada had always been called brothers, but now they had to change their names to their father-in-law. This is somewhat unacceptable. Soon after they got married, they moved to Okada's home in Koganei, which was the predecessor of the World Peerless Art Memorial Hall. Is all this providence?

Three years after the marriage of Wushuang and An Zhi, they gave birth to beads. Deng Nian was forty-nine years old, and it was at that time that he painted this "Portrait of a Child". After that, he painted a series of children's drawings using beads as models. Judging from the penmanship at that time,

The world's unparalleled daughter's beads are regarded as the pearl in the palm of his hand, and he keeps painting the portrait of his daughter with the feelings of a loving father. But in the winter of 1960, Zhu Zi died of acute hepatitis at the age of nine, and Zhu Zi's portrait was only painted until he was nine years old. There are also some old photographs in the library: a huge photograph of the unequaled in the world, a photograph of his brother and father-in-law Okada, and a photograph of the unparalleled wife, Ms. Ahn Chichi. The unparalleled photograph is hung in the center of the wall. He has a dignified face and a handsome appearance, and he looks like an actor. Compared with the thin man in the world, Junzo Okada is slightly obese. However, each photo is smiling and makes people feel like an approachable person. In the next room there is an oil painting entitled "The Man with a Pipe", which is based on Okada. It was painted when he was studying in Paris, and the colors are bright and bright, which is very conspicuous compared to the gray oil paintings around him. The cheerful personality and pleasant look of the people in the painting also make the viewer feel good. There is also a photo of An Zhizhi, Xing is a photo of her holding a baby in her arms and wearing a suit. Although the photo is too small and not very clear, the woman in the photo has a beautiful hairstyle, big eyes, and a very beautiful face, which looks very similar to the woman in "Children's Xiao Xu". It can be concluded that the young woman in the painting is the unparalleled wife An Zhi.

Regarding paintings, in fact, Song Jiajia knows the painter best is Van Gogh, one of which is most appreciated is Van Gogh's paintings, starry sky, Song Jiajia has analyzed the starry sky layer, Van Gogh's painting presents two line styles, one is a curved long line, the other is a broken short line. The two are used interchangeably to make the picture present a dazzling fantasy scene. This is clearly out of touch with reality and is purely of Van Gogh's own imagination. In composition, the turbulent sky contrasts with the calm village. The cypress trees are visually balanced with the horizontal mountains and sky. The color tone of the whole painting is blue-green, and the painter uses a sense of movement, continuous, wave-like rapid flow of brushstrokes to represent nebulae and trees; In his paintings, nebulae and trees are like a blazing fireball, which is striving upward, with strong expressiveness and deep impression.

Starry Night Sky is perhaps Vincent van Gogh's most famous painting. The unique style makes it instantly recognizable as the work of Van Gogh, which is fictional. Even when Van Gogh experimented with decorative works, only a handful of critics recognized his works and were willing to support his attempts in this area. Part of the reason for this is undoubtedly that Van Gogh was not able to hold the solo exhibition he had hoped for, and only such an exhibition could possibly present a large number of his works. Gustav Kahn, on the other hand, commented on three of Van Gogh's works exhibited at the Salon des Indépendants in 1888, saying that "Mr. Van Gogh's brush was wielding with great force", and this assessment actually became criticism. Some of the authors of the review refer to this style of brushwork as simply ornamental. In 1889, Félix Feneckon noted that in this work, the "non-three-dimensional brushstrokes form a rough straw mat-like pattern", while the swirling colors seem to be squeezed directly out of the paint tube. In his article, Georges Lecomte praised: "Warm impasto...... The variety of colors naturally creates a striking effect. Gustave Gefroy described Van Gogh as a painter who "paints landscapes as if he were sculpting landscapes". These comments may have drawn attention to the expressive and ornamental nature of Van Gogh's work, and his brushwork may have been seen as a means of unifying the foreground and background in the same visual area. However, these comments are only a few words, and there is little discussion of Van Gogh's work in any broader or more in-depth manner. If you look at it from the perspective of individual works, the vigorous and distinctive brushstrokes imply a traditional temperament or a unique style, rather than a decorative pattern. And once Van Gogh's physical health became known, they did not hesitate to think that his brushstrokes testified to his morbid temperament and the instability of his temperament.

The field of vision transforms into a thick, powerful paste of paint, unfolding its veins along the lines drawn by the thrusting motion of his brush. The curling waves of the stars in the center of the sky may have been inadvertently influenced by Katsushika Hokusai's "The Great Wave" - but its rushing pressure has no equivalent in Oriental art. The moon emerges from the eclipse, the stars shine and surge, and the cypress trees shake with them, transforming the rhythm of the sky into a black distortion of their own flaming silhouettes. They gave him the torrent of heaven, completing the circle of vitality that runs through the whole of nature.

This painting shows a highly exaggerated and distorted starry sky full of powerful shock. The huge, curly and swirling nebula, the exaggerated starlight, and the incredible orange-yellow moon are probably what the painter sees in his hallucinations and dizziness. For Van Gogh, the images in his paintings were full of symbolic meanings. The moon that emerges from the eclipse suggests a certain divinity, reminiscent of a phrase by Victor Hugo that Van Gogh was happy to mention: "God is the lighthouse in the eclipse." And the huge, flame-shaped cypress tree and the cirrus dragon-like nebula flying in the night sky may symbolize the spirit of human struggle and struggle.

In this painting, the scene between heaven and earth turns into a thick, powerful pigment paste, which follows the trajectory of the brush and swells up in a whirlpool. The whole picture seems to be swallowed up by a turbulent and turbulent torrent. The scenery is in a frenzy, the mountains are in turmoil, the moon and nebulae are spinning, and the cypress trees that roll up to the clouds look like a huge black tongue of fire, reflecting the painter's restless emotions and the illusionary world of madness.

Van Gogh did not passively indulge in his emotional images here. He is able to detach himself from his work as an artist and, looking for ways to use contrasts to clash with the general trend of the picture, thus reinforcing the emotional stimulus. In the painting, we see that the town in the foreground is depicted with short, clear horizontal strokes, which create a strong contrast with the curvilinear brushstrokes that dominate the upper part. The little yellow light is painted in small squares, which contrasts sharply with the circular shape of the starlight. The elongated spires of the church cross the horizon, while the tops of cypress trees cut through the swirling nebula

And the huge, flame-shaped cypress tree and the cirrus dragon-like nebula flying in the night sky may symbolize the spirit of human struggle and struggle.

The whole picture seems to be swallowed up by a turbulent and turbulent torrent. The scenery is in a frenzy, the mountains are in turmoil, the moon and nebulae are spinning, and the cypress trees that roll up to the clouds look like a huge black tongue of fire, reflecting the painter's restless emotions and the illusionary world of madness

Song Jiajia was about to continue thinking about something, but was interrupted by a voice behind him, it turned out that Song Junxin came to look for him. Song Junxin looked for a few exhibition rooms before he found him here. She handed Song Jiajia a tray with a cup of coffee and a few homemade cookies. The two of them went to the tea room to taste it slowly. There is not a single guest in the tea room. From the beautiful window panes, you can see that the courtyard is very well manicured with flowers and trees, and there is a delicate pool in the middle of the courtyard. Song Jiajia drank healing coffee while telling Kato Cao that he had noticed something interesting. Ah Cao remembered that when he found Song Jiajia, he was contemplating Qiao's "Children's Xiao Oak", and asked him if it was the Min painting of a young woman holding a baby. Song Jiajia nodded excitedly, and asked Ah about the topic and content of the country

Suze again, and good, Yu Yi also noticed that the entire exhibition room did not have a single face on An Zhinu, but the bead paintings were specially made, making people feel that the world is unparalleled and An Zhizhi seems to be unhappy in their married life. (To be continued.) )