It's not an award.

Rather, it is a gold medal for first place.

The gap between level six and level seven on the system panel is as worlds apart as the gap between semi-professional and professional painters.

Works that have reached the level of masters.

Even in the past, the Singapore Biennale used to have to wait years for one to appear.

With this painting, it can be regarded as the fulfillment of one of Mr. Wattel's wishes.

In fact.

The painting was completed much faster than expected.

The skill was really used, and it was smoother than he expected, and the drawing was smoother.

So much so that Gu Weijing's brushstrokes follow the curves of the waves and the curves of the covered bridge, from still water to waves, and use a wet pen to process the last ripples of color that need to be softened around the museum.

There is almost half of the skill time left.

He looked at the prompt of task progress +1 on the system panel, and for a moment there was an urge in his chest to paint all the half-finished products that Professor Vattel had hung on the wall.

I pondered for a moment.

Gu Weijing still dispelled this thought.

Not necessarily.

With the use of skills, it is almost easy to complete the "color up" level of polishing.

There is no hurry.

Gu Weijing judged.

The task of the system is more to exercise his grasp of the overall atmosphere and context of the work.

Gradually realize the essence of other people's works, so as to slowly find the finishing touch, the trick of flowers.

While drawing, I think about it.

There is no difficulty in the technique, but it is often very difficult to think.

Gu Weijing has been looking at the same watercolor paintings that Professor Wattel has hung on the wall every day these days.

Painted and unfinished, all over the wall.

Spend an afternoon in the studio one day.

I'm tired of watching it, and I'm numb.

Gu Weijing's realistic landscape painting of "Museum Island" is as familiar as the propaganda poster on the wall of the bus stop or toilet that you pass by every day at the school gate.

became part of his work environment.

I don't even think it's a work of art anymore.

He didn't mean to insult Wattle.

Most people's works are like a lot of Internet celebrity girls on short videos.

It's easy to make people's eyes shine, or to spark you when you brush past.

It's really not easy for you to spend two or three hours a day in front of her, and you feel extraordinarily beautiful and charming.

The requirements for the level of the painting itself and the audience's ability to appreciate art are very high.

Don't say you watch it every day.

Dulwich Spring & Autumn Holidays organises study tours to London, Paris, Florence and other places.

After the teacher led the team into the art museum, every time a student got bored after only watching it for five minutes, he would sneak to the coffee shop next door and order an espresso to play Switch.

This is still an art student.

Any work that can always be seen and new, and can overcome time, can be called the supreme praise of greatness and excellence.

The most typical example is the famous Han Gan's ink line horse "Illuminating the Night White Picture" in the metropolis.

From Tang Xuanzong to the later master Li Yu, and then to Mi Fu, Song Huizong, Jia Yidao, Yuan Dynasty Jietun, Qing Dynasty seal madman Qianlong Emperor Hongli, experienced thousands of years of celebrities in the past dynasties to play appreciation and appreciation.

The painting itself is a little bit.

Next to it, there are all kinds of continuous, supplemented, and connected prompters, poems, comments, and stamps, and a large volume several meters long.

I don't know, I thought it was a calligraphy work, and the small painting next to it was included.

The Tang people loved its danqing color, the Song people loved its hair and muscles, the Ming people liked its divine will, and the Qing Dynasty returned to the appreciation technique itself.

This is a work that has been viewed by the top collectors for a thousand years.

Theoretically, the places available for fun have been eaten and wiped clean.

Until the end of the 19th century.

In the field of Western art, there is a more scientific and systematic theory of focus transformation and perspective painting, while Chinese painting has developed in a different artistic path.

A bit of the essence of modern painting that "emphasizes concept and spirit".

Theoretically, realism is the strong point of oil painting and watercolor, and this is also true.

But when it comes to painting horses, there has been a well-known debate among realist painters since the Renaissance - Help!

It is difficult to draw a tree and a willow, and it is difficult to draw a horse.

Objects in motion are the most difficult to represent.

The human eye is unable to capture the exact movement of a horse's legs at high speeds of up to 60 km/h, just as you can't see the wheels of a moving wheel.

The mainstream view has always been.

No matter what time or movement, the horse's special bone structure determines that the horse's hoof will always touch the ground.

So go to an art gallery and admire the early standard animal paintings, which are almost the same as the front hoof, or the hind hoof, with one hoof always falling to the ground.

However, there are riders who have a lot of contact with horses and often tell the painter.

They don't know why, but they always feel that the horses on the scroll are unnatural and look weird.

Some painters began to ask, will the horse have the possibility of all four hooves hanging in the air in those tenths and zeros?

This has long been considered an impossible fallacy.

In order to understand this problem, the artists tossed and turned for more than a century, and even offered a reward in the newspaper news.

It wasn't until 1872 that California Governor and founder of Stanford University, Rich Stanford, hired a high-speed photographer to complete the study, capturing the most accurate form of the horse running through 16 cameras in half a second.

This is a milestone in the history of cinema, and 16 photographs are shown from beginning to end, becoming the first moving shot in human history.

It also brought an end to this century-old artistic controversy -

That's right, horses are on all fours when they run.

At this time, scholars once again examined the famous paintings of horses in world history and were surprised to find ...... That's how Han Gan's horse was drawn.

Literary critics of the past generations commented on Han Gan's horses, and often said that his paintings had a sense of divine meaning and a sense of soaring clouds and fog, but now they have found out after re-researching.

That's not the clouds, that's what the horse really looks like when it runs.

He is also the first painter in the world to depict the running of horses in the East and West in all the existing drawings of galloping horses in the past and present.

Five dynasties and ten centuries have passed since the painting painter who once said to Tang Xuanzong that "I don't want to take people as teachers, but only want to take horses as teachers", and then to the final conclusion of this issue in the history of science.

A whole thousand years.

Han Gan's horse, Caravaggio's mirror, Isaac Levitan's lake...... They are all works that can be watched for one or two hundred years, or even thousands of years, and still feel that the mystery is endless, full of Zen flavor, and you can continue to play and polish the works that you will never get tired of.

They transcend time.

But it's unfair to compare this kind of museum-level work with Mr. Wattel.

It's not just unfair to Han Gan, and it's even more unfair to Wattel.

Don't say Wattle.

Gu Weijing is creating the "Good Luck Orphanage in the Sun", he knows very well that his ideal hope is just to shock the judges of the organizing committee.

Let their eyes light up and their hearts move.

Outside the venue, Mars Gallery paid someone to write two more advertorials to blow the wind on his ears.

Finally, I presented myself with a newcomer award.

He was so content!

At present, his fusion paintings still focus on a "new" character and a "strange" character.

If you hang it in an exhibition for two or three months and publicize it twice, it will not be new.

The kind of pillar that can become a big art venue, whether it lasts for a month, two months, ten years, twenty years, or a hundred years.

It will always make countless audiences come to visit, let the art judges scratch their ears and cheeks, and let art students all over the world line up with a drawing board to copy the masterpieces.

It is far from being a professional second-order painter who should consider the problem.

He opened the skill to draw a niche painting knife painting.

Or Ms. Carroll's Gu Weijing repeatedly copied more than ten or twenty copies, and the more I painted, the more I felt that the technique was delicate and lovely, and the unfathomable "Old Church on a Thunderstorm Day" had only about two or three points of meaning.

In particular, Wattle was engaged in photorealism.

Compared with the freehand of ink painting and the impressionism of oil painting, realism pays more attention to the solid structure and rational brushwork, and can be regarded as a "science student" in the field of art, pursuing the same precision as mathematics.

It's very solidly drawn.

However, the brushstrokes of a rational mathematician are not elegant and divergent enough, resulting in becoming rigid, so that Gu Weijing does not have a shocking sense of beauty.

Don't be mistaken.

It's not that the mathematician is bad at using the pen.

From form to thought, mathematics is the most beautiful art in the world, delicate and grandiose.

It uses formulas and infinitely expanding digital boundaries to edit and structure the entire world and all things, as if a painter is sketching all things in nature with a brush.

Euler thought that accurate mathematical laws must be pretty beautiful mathematical formulas written out.

From form to thought, it is highly artistic.

And the best realistic paintings, when drawn, must be highly mathematical.

Those rays of light and lines are filled with the beating of numeric symbols underneath them.

The golden ratio of building design, the law of projection of visual focus, fractal geometry and picture composition...... Of course, Gu Weijing used the tip of the brush to erase the color of the clouds, and he could not escape the refraction and diffusion of the laws of optics under the brush.

Art and science, not two opposing ends, but two intertwined ribbons in the hands of the goddess of nature, are expressions of thousands of societies.

Different means to the same end.

A realistic painter is like wandering in a myriad of interlaced functional graphs, looking for the moth that can gather and coordinate all messy curves, unify all law functions, and reach the origin of the world's most beautiful and absolute justice.

The moth knew that it would never reach that burning singularity.

I can only keep getting closer, keep getting closer, keep exercising my skills, and run on the peaks and valleys composed of functions, just to get closer to the singularity that exudes endless charm.

The singularity that made them chase a lifetime like moths to a fire.

It's called "The Real World".

But if Menzel's penmanship is the kind of great master who can be the prince of mathematics like Fermat, Euler, Newton, and Poincaré.

Then the half-baked works that Wattel put on the wall are at best the difficulty of the penultimate function question of the Dongxia college entrance examination.

Not everyone can do it, but ...... That's it.

It's such a "that's it" tired half-tone work.

When Gu Weijing did not use the audience's top-down vision to find fault with the artwork, but instead used the perspective of the teacher to draw and guide the painting, and participated in the creation process of the painting from a higher dimension.

He still figured out the taste.

How to raise a half-hung work to the realm of a master out of thin air by relying on the last layer of overcoat dyeing? How to make a rough work, relying on the clouds in the air, the fog at the water's edge, the mottled shadows, the ripples on the surface of the lake, a little bit like polishing the lens, the "resolution" of the work is constantly improved.

How can Mr. Wattel spend ten years infinitely shrinking the circle circled on the complicated curve of functions, exhausting the skill of his skills, like a matador converging lasso, to try to approach the edge of the origin of the "real world" for the second time?

Thinking is the driving force for progress.

Knowledge is the basis of thinking.

In the past, Gu Weijing looked at the watercolor frame on the wall, and it was useless to pull his hair bald, like his grandfather Gu Tongxiang, and his improved watercolor technique was at most half a pound and eight taels with Wattel.

The paintings on the wall weren't something he could think about if he wanted to think about it.

The system skill provides Gu Weijing with a higher level of thinking dimension.

The moment he stood at the pinnacle of his watercolour skills, the mysteries of Dulwich's work were completely open to him.

There's nothing to hide.

From going from cool to warm on the color palette, bringing up a simple color wheel, to activating the skill, and finishing the last stroke, in just ten minutes or so.

Gu Weijing's experience in watercolor alone increased by 500 points, and the progress bar was filled by one-tenth.

Oil painting, Chinese painting, and even sketching have improved by dozens or hundreds of points.

Compared to the same use of Menzel's skills to draw a figure model before, he has gained several times more experience points, which is not an improvement brought by simply using skills.

It is the improvement of the understanding of realistic works.

The emperor lives up to the painstaking people.

This painting was painted by Watel for ten years, and tens of thousands of hours of hard work were condensed into the same work, and there was no way to express the details of the painting technique a little stupid.

But the overall composition, the angle of inclination of the trees, the inclination of the building from the covered bridge to the museum building, the angle of entry of visitors, the height of the position of the eye level...... 10,000 hours of grinding time is enough for someone who has never touched an instrument to play a complex allegro piano piece like "Hungarian Rhapsody" from beginning to end.

It is enough for any painter to be familiar with a work or a scene to the point that it goes deep into the bone marrow and becomes a part of the soul.

These compositional things have to do with a painter's talent, but they have more to do with effort.

Professor Wattle can proudly say that every tree, every piece of rubble, and the angle of painting chosen in his "Museum Island" has reached the point of being a textbook in his countless repeated experiments.

In addition to the realism technique, he has long achieved the ultimate in the field that can be covered by the painting experience.

Even if those landscape masters come to paint this kind of subject for the first time, the expressiveness of the work may be better than his, but the composition will certainly not be finer than the polish he polished.

The so-called Monet's lifelong copying of water lilies is just that he has been copying them for such a long time.

And these experiences and realizations were absorbed and absorbed by Gu Weijing little by little in the process of painting guidance paintings from the perspective of Wattel.

(End of chapter)