Soon the news spread that the works of the five artists were selling for more than a million dollars, and some art magazines also reported on the works of the linealist five artists, and announced the prices of the latest works of the five artists! Of course, the domestic art media also reported the news, and some art journals were preparing to send reporters to the United States to interview the five people.

The New York exhibition was a success, and it is not even a good idea to say that it was so successful that it dwarfed the cities below, but Fang Yi's work still lives up to expectations, and it was sold out when it was exhibited in the third city.

The first three works that participated in Venice rose from 1,250,000 to 140,000, and the 1,600,000 in the back rose by 100,000 yuan compared to the price purchased by the Cohens. Now Fang Yi is not the same as before, when it was first exhibited, many collectors still thought that Fang Yi was just following the trend of linearism, and Keshma was the main force of the creation.

If you think about it, you can understand that many Europeans think that Chinese can't paint oil paintings well, that is, the few who paint well are all following the trend and following the painting style pioneered by others. Say it's a pioneering style? Where was there anyone like this before? Not to mention that there is no one in China or among overseas Chinese, there is no one like Fang Yi who has become a member of a new school, let alone the main force of the school, or a representative figure! From many interviews in Venice, both Khima and Ruud, as well as the rest of Artur and Anders, have admitted to the media more than once that the most important contribution of the five is Fang Yi.

Of course, the works of the representative characters should be sold a little better!

Now the problem is that Fang Yi's works are completely sold out just halfway through the exhibition. That is to say, the people who came to participate in the preview couldn't buy it if they wanted to, because the works of Fang Yi hanging in the exhibition hall actually did not belong to Fang Yi, but to the owners who paid for it.

The last stop is Los Angeles. As soon as the preview was over, Fang Yi returned to the hotel, took a shower and talked to his girlfriend Beloni on the phone, and before he could finish the chat, he heard a knock at the door.

opened the door, beckoned to Zou Heming, who was standing at the door with a smiling face, and motioned for him to come in, and turned back to the living room sofa and sat down.

After chatting with Beronica, he hung up. Fang Yi asked at Zou Heming, "The smile on your face hasn't broken during this time!" Happy to die, right? ”。

"Of course!" As soon as Zou Heming sat down on the sofa, he opened his mouth directly and said, when will I be happy if I am not happy in this situation, and the whole exhibition is basically over. Fang Yi's works were sold out, and the four Khima also sold two or three paintings each, and the entire gallery's income was almost 10 million US dollars, and Zou Heming could wake up laughing when he slept.

Ha Luha smirked twice. Zou Heming said to Fang Yi: "The Metropolitan Museum called just now. Each ordered a Kahima and their work, you have no work to sell, just ask me when your next work will be completed! ”。

Fang Yi smiled and said, "The Metropolitan Museum is going to collect my works?" Looking at Zou Heming, he nodded, and said, "If they want to wait for four months, maybe it will be a little later." Don't put it in your exhibition hall, where do you want me to change it at this time?

"Paint slowly, don't be in a hurry," Zou Heming said lightly: "Just ensure that about four works a year are handed over to the gallery, and you can control the time yourself." Can the works come out be handed over to the Metropolitan Museum, let's see them later! ”。

"I don't necessarily guarantee four works," Fang Yi doesn't want to paint like he used to do. The technique of linearism is a bit more complicated, in order to support this touring exhibition. My friends are working on two or three works at the same time, and the number of scheduled works has not been completed after the most unexpected, although four paintings a year does not seem to be much, but Fang Yi really can't guarantee it, and the next time is ready to be a little more free, that is to say, to look at his own works more critically, and to prepare to paint a little bigger, more than one meter by more than two meters.

Zou Heming was a little anxious when he heard it: "You can't guarantee the four works?" ”。

"Next, I'm going to paint a larger work, and I expect that by the end of the year, there will be about three paintings at most," Fang Yi said after a while.

"Three paintings are okay, but you can't control them, if two paintings are a bit too little," Zou Heming said, "Even if you want to control the number of works, it shouldn't be such a control method." Two works a year by an artist? Even if Fang Yi was able to pick up a paintbrush when he was in his eighties, there were only one hundred and twenty works in total, which was a little too little. Many painters hand over a few paintings to the gallery a year, and there are still many paintings in their own studios, but Fang Yi only paints three paintings a year? How can this work?

"Let's see when the time comes," Fang Yi said vaguely. Fang Yi now felt that he had no breakthrough, and with the experience of the last time, he was ready to think more and think more.

Regarding Fang Yi's words, Zou Heming didn't have much to do, he couldn't hold a knife on Fang Yi's neck and watch him paint all day long, so he had to sigh and say: "You do your best, strive for four guaranteed three works."

"What do you say about the European show?" Fang Yi changed the subject.

Zou Heming thought for a while and said: "I can't do it this year, let's look at it next year, and wait for your new works to come out and then consider the European exhibition."

After thinking about it for a while, Fang Yi understood that his works were completely gone, and only a small half of the four Khima were left, how could this small half be directly taken to Europe for exhibition, in case all of them were sold out and Lawrence Gallery was on holiday for a year? How is this possible, so these works should be honestly squatted in the gallery exhibition hall and sold slowly.

The two chatted for a while, and then Zou Heming left Fang Yi's house and went to Altur's room next door to chat with his other cash cow.

Fang Yi returned to the room, turned on the TV directly, and then stilted on the coffee table to turn on the TV, but his mind was not on the TV program, but instead thought about the theme to be expressed in the next work.

There is always a certain amount of controversy about an artist who is still alive, and the works of Fang Yi's five people are worth millions of dollars, and of course some artists and critics are overwhelmed, and they are poking around in the media to prove that linealist works are not worth so much money. Some people think that cutting more than half of the current price is the real value of linearism!

To put it bluntly, some of them are black for the sake of black! It is not only a critique of linealist works, but also a personal purpose. These people, especially some critics, rely on this mouth to eat, of course, Zhilu Dao is definitely not famous now, but Hei may have a chance to become famous, or at least make himself look selfless and selfless, not following the crowd, what he pursues is the special demeanor and momentum of this independent wave.

Of course, these voices were directly filtered out by Fang Yi in his ears, and Fang Yi was in no mood to pay attention to these people who were full of food and had nothing to do. Reasonable about their time, I don't know what to do with lying in bed and sleeping, and what to do with these people who are grinding their tongues!

Even in China, there are a number of resolute anti-factions, from the time when Fang Yi held an exhibition with his teacher Liu Hongshuo for the first time in China. When everyone was in Venice, everyone was busy reporting the national pavilion, as well as the theme artists in the museum, as for Fang Yi's fame, the focus was still on the level of the national pavilion. At that time, everyone understood what was the general direction, and Fang Yi's fame naturally belonged to the side of the non-general direction, and he personally overshadowed the national pavilion? This must not be seen. Of course, it is impossible for the report to focus on Fang Yi, a 'little person', which is a big picture, even if it is an art magazine, it still needs to be talked about!

As soon as the news that Fang Yi's work had reached millions of dollars abroad reached China, some magazines felt as if they had been slapped in public. Within a few years of scolding this kid, the work will cost millions of dollars abroad? Is the aesthetic of Americans so bad?

When they were hesitating about how to comment, the remarks of black linearian artists and critics in Europe and the United States reached the ears of these people, and they immediately began to analyze Fang Yi's works from the idea and expression of the works. put on a posture of not giving up to the point where Fang Yi's works are worthless.

First of all, Zhicheng's "Avant-Garde Art" and Lingang's "Art Times" have repeatedly quoted articles by these international 'famous' artists and critics, trying to prove the water in Fang Yi's work, as well as the insidious hype tricks of Lawrence Gallery.

As for where the art media in Shicheng will join the black faction, the firm pro-Fang faction, just because Fang Yi belongs to the people of Shicheng and the people of this province, these media are impossible to black, and immediately write their own review articles like flowers, full of praise. At first glance, Fang Yi is now the mainstay of the world's art world, and he is the first person in the world, and there are no living European and American artists. This kind of boasting is a bit too much!

This time, Mingzhu's art media stood on Fang Yi's side and praised Fang Yi. At the same time, Fang Yi was given a high evaluation, and the hat of the first person in Chinese oil painting was sent to Fang Yi's head.

At this time, the domestic art media began to report on Fang Yi's linearism. If you publish an article, I will refute it, and you will be happy to come and go. For a while, the prices of Fang Yi's works, including linearism, began to spread more widely in China, and even many collectors even knew the names of Khima and Rude, and directly began to call the five masters of linearism, and more vulgar, the five tigers of linearism. What if Fang Yi heard it, he thought he was a lawbreaker who slashed people with a big blade.

Under the influence of the media, teachers and students in major art schools are also divided into two factions, some students think that linearism is not a good thing, and some think that linearism is very good, and the debate in the same school is fierce! The performance is that in their respective forums, everyone is enthusiastically commenting on Fang Yi's works. What's funny is that most of what these people are looking at are Fang Yi's early works, which are now donated to Shiyi. (To be continued......)