After thinking about these troubles in his mind for a while, Gu Weijing once again put his attention back to the drawing board beside him.

He walked back.

Pick up the brush again and continue with the trace you just left off.

At one o'clock in the morning, Gu Weijing was awakened by the thunder in the sky, and he couldn't sleep after tossing and turning.

He's been busy lately.

I found that Carol's paintings, after the writing of the dissertation had been completed, were not copied as often as before.

Since I couldn't sleep because of the noise, it rained heavily.

Gu Weijing thought that it was better to get up and scrutinize and scrutinize the details of the picture.

Perhaps looking at the low thunderclouds outside the window that seem to be falling on the surface of the river, he can touch the scene with emotion, and he can ponder more about the small articles of the female painter when dealing with the brushstrokes, and he can also take the treasure chest with him.

The impressionist works of impasto painting do not kill too much time.

In addition, after all, there are many imitations, and practice makes perfect.

A draft from midnight.

Now in the clouds between the distant horizon, there is only a faint hint of the whiteness of the fish's belly.

The main body of the scene on the canvas in front of Gu Weijing has been roughly formed.

The feeling of painting impressionism always has a very strange sense of chaos, and the [real world] skill of trying to completely match even the tiniest wave of water in the photograph is like two different ways of thinking.

The feeling of a hundred thousand dots of color and brushstrokes blending into one.

It is as if the tangible world is slowly being nurtured by abstract elements such as black and white, red and blue, light and dark.

Everything in his pen is not simply drawn, but grows along with his thoughts.

"The essence of the so-called impressionist painting is to learn to think in an artistic way." - When Gu Weijing and Miss Sakai were writing a paper together, they once quoted a sentence from Monet's letter to a friend.

At the beginning, I just casually quoted some big truths in the paper to enrich the article itself.

After all, there is a difference between an AHCI thesis and a pure science and engineering thesis, and an art thesis is also different from a thesis in the field of archaeology, and there is not so much literature to refer to.

When everyone writes a paper, they have to quote famous quotes and water water word count.

When reading this quote from Miss Sakai.

Gu Weijing didn't have any special feelings, and even a little boring.

He also jokingly mocked Katsuko, quoting this kind of words is like quoting those success guides without nutrition -

It seems to be thorough, but in fact it is empty.

In the same way, the "gold medal" lecturer can talk into the microphone for 10,000 words in one day, and the audience seems to be enlightened and burst into tears, but in fact they have gained nothing.

When you get along, Miss Sakai is a girl who carries you like water.

In discussions about artistic concepts, Katsuko never accuses Gu Weijing's views of being too cheesy or not emotional enough, or tries to forcefully correct the differences between his own ideas.

But they didn't blindly cater to obedience.

Katsuko just pursed her mouth, tilted her head and thought about it, and then looked at the drawing of "The Old Church".

Finally, he smiled and said to him, "Well, maybe you're right, but I think it's still a little different, it's quite flavorful, it's about the 'heart'."

It's hard to say whether it's a philosophical thought about the 'heart'.

Anyway.

Gu Weijing listened at the time, and he didn't care at all.

If it weren't for the fact that Katsuko tilted his head and smiled, he might have forgotten about it.

But as Gu Weijing copied "The Old Church on a Thunderstorm" more and more.

The faster his technique improves.

Gu Weijing realized that he who laughed at his girlfriend at that time was the real naïve.

Combined with the perception of the copying process, Gu Weijing felt more and more that the empty summary that sounded ordinary at the time was interesting.

It's not like the twenty dollars a whole book of success sentences that I assert.

Contrary.

It seems to be a stone wall cave niche, the appearance of the Buddha and Bodhisattva sculpture is gray and simple, the appearance is ancient and simple, but there is Zen contained in it.

"The Old Church on a Thunderstorm" is such a work about "thought".

True.

The painting has been carefully cared for, washed away from the floating ash, and as much as possible disposed of some of the pigment cracks caused by improper preservation.

It suddenly became a very beautiful work.

Master's handwriting, master's work.

It is also a very complex painting on the technical level.

The brushwork is magnificent, and the color is delicate.

Like a goddess scattering flowers.

These intricate and playful brushstrokes are as delicate as the hundreds of hairsprings, gears and dials in a fine Swiss complication mechanical watch, layered on top of each other, supporting the flow of the painting's divine consciousness.

From the perspective of the audience's viewing, with words like "ancient and simple".

A dime can't be tied to the line.

However.

After Gu Weijing had a deeper understanding of this painting, he slowly tasted it, and the most attractive part of the technique was not the colorful streamer of thunderclouds, the complex changes of candle flames, or the accurate portrayal of weathered mottling on the masonry of the church.

It's not because of the "playfulness" of the technique – such a vulgar thing – that it becomes so fascinating.

It is the kind of bold use of brushstrokes between paintings, and the confidence and bearing that overflow.

Gu Weijing slowly began to perceive and grasp it.

All of this, in the eyes of Carroll a hundred and fifty years ago, must not have been a simple object of reality, but an abstract object composed of lightness, color and line.

Wind and rain, candles, churches......

Through all of them, she saw their shapes, lines, lightness, and colors.

I saw their light and shadow, moist and dry, and saw the fresh smell of the plant roots in the soil that were about to break through the soil in the next spring under the torrential rain.

All this cannot even be summed up in simple beauty and ugliness.

Because whether it is "beautiful" or "ugly", there is no standard generalization, only one mind. The budding flowers can be boring and mediocre in the eyes of busy people, and the toothless old woman with a wrinkled face can still be beautiful and thrilling in the hearts of people who really love her.

All she sees is existence itself.

In the confrontation between time and space, in the delta plains formed by the sediment carried by the immovable river of the Irrawaddy River from the mountains of Eastern Xia and southern Yunnan, one thousand years after another, and thousands of years of immovable river water, the lines and colors that make up this small world.

Everything a painter can create.

Simple and simple.

Because the author of the creation, whether it is Gu Laotou or Gu Kaizhi, Grandpa Wu who plays chess, or Wu Daozi who paints "Eighty-Seven Immortals", Lao Bi or Picasso, who runs a grocery store next door, are just a combination of brushstrokes and paints, and no one can be an exception.

And the deep can be deep and endless.

Because brushstrokes and colors are never just simple permutations and combinations, but a kind of technical atmosphere, a kind of thought, a way of expressing the world.

The viewer sees not just a church or a candle, but a clever combination of lightness and line.

Carroll did not draw them with a pen, but hinted at them with the "right" shape, lightness, and color that suited his heart.

It gives the viewer the atmosphere of the technique she wants to express—the solemn simplicity of the thunderstorm of the church, or the warm flickering of the candle flame, the refreshing light of the heart.

This kind of freewheeling technique, the technique atmosphere of gluing brushstrokes on the paper, is called "master bearing".

And this abstract way of looking at the world --

It's called Impressionism.

When you learn to observe the world with abstract eyes, you will find that they are not the shell of the surface, not simple things, but the underlying structure of the art world built by warm and cold tones, color temperature, and brightness.

You will perceive that techniques are not only about techniques, but also about thinking and aware.

When you see fire, you think of red, you think of heat, you think of the light and the shadows that the light brings.

So for the Impressionists, mastering this artistic way of thinking, you have really stepped into the door of the temple with one foot.

Since then.

What you draw is no longer the "Fa", but the "Dao". Extracting the complicated brushwork itself, can you still capture the aesthetic origin of all things in the world, take a few brushstrokes, and you can penetrate the spirit.

This is the subtle, but fundamentally gradual, difference between the techniques of a true master and the polishing and excellent brushwork of an "ordinary" excellent painter.

Different means to the same end.

Not only impressionism, cubism, ink freehand...... Countless great painters in the East and the West, when the depiction of shapes and the sharpening of line skills go to a high place, many people's painting style will change from "writing form" to "freehand".

That may be the case.

Carroll's work really has a feeling, that kind of flamboyant and passionate emotion, confident expression.

There is no beauty or ugliness, no shape, nothing but existence.

And she wantonly gives shape to these scenes, so that these scenes have a shape and a soul in her brush.

As Miss Katsuko said—

It's an aesthetic about the heart.

Gu Weijing looked sideways at the window, and lightly dipped the tip of his pen on the palette, and the close-up view of the church under the rain and fog that was being painted added a touch of coolness.

It's also a matter of shaking your head gently.

When Katsuko Sakai sensed that there was something flavorful in that sentence, their paper had not yet been written, and Katsuko herself had not been in contact with this "Old Church" for a long time.

But I felt something.

Touching on the aura of the predecessors, in an instant, I vaguely felt the true meaning of the masters.

I was here to paint 20 copies of the work, and slowly, little by little, I found out the meaning hidden under the skin.

He was indeed an ordinary layman.

Not only does he play tennis, but Katsuko can beat him three with one hand.

On the wisdom and intelligence, the mind is clear and empty, and a sensitive girl like Katsuko Sakai can beat him five with one hand.

Put it in Xianxia on the Internet.

Miss Sakai must be the kind of "Innate Impressionist Holy Body" of the fairy spirit root, and Gu Weijing can only be a monk of the Five Elements Miscellaneous Inspiration Outer Sect.

I had to rely on adventures and continuous downhill experience to polish my mind little by little.

"It's a good joke, and the next time we meet, you can share it with Katsuko. I don't know if she will smile or open her eyes seriously, take my hand, shake her head and say that I am great. ”

Come to think of it.

Gu Weijing smiled freely and freely.

Perception is not as good as others, so he accepts it.

How can everything go well in life? In his situation, in terms of improving his skill proficiency, he is already naturally too far ahead of most people.

Besides, his talent is not good.

It's just for Miss Katsuko, his own girl is great, and it's hard for him to be so stingy and jealous.

If the laity practice more, it would be good if the stupid bird flew first.

There is less natural understanding, and there are more paintings, so you can draw the feeling differently.

"Really, no need to praise Katsuko, this painting is really good. It started to be a little bit of Carroll's original work, and that meant. ”

Gu Weijing swept the collapsing canvas on the easel in front of him and commented.

The more he painted, the more he gradually grasped the context of the "artistic observation" way of thinking.

It's hard to get things done in life.

It's also hard to get things off your way.

Yesterday's heavy rain, noisy Gu Weijing couldn't sleep in the middle of the night, but it also gave him the blessing of the environment outside the window, and painted the most expressive painting similar to the original in these days.

He was even beginning to notice the lowest level of aesthetics hidden beneath the thick paint.

For example, the thunderclouds in the foreground, a few bricks on the roof of the church, and the distant hills that almost blend in with the night rain and fog, and the two locust trees that are not as thick as they have been in recent days.

Of course, these scenes are different objects, and even the colors are different, but the brightness of each color block of the overall pigment is very similar.

So in the grasp of the technique.

These scenes can be completely connected as a whole, in one go, and the overall painting context should be connected.

And think the opposite of this large scene.

In the close-up of the picture, the trail at the bottom right, even if it only takes up a very, very small part of the whole work, and it's a whole road.

But because of the sky and the scattering of candlelight, in fact, in the process of painting, Ms. Carroll put a lot of thought into the distinction between brightness and brightness in the process of painting.

She probably used air perspective, using the depth of field effect of water vapor particles in the rain and fog to make several layers of separation on the path.

The pigments look similar.

Not only the brightness, but also the color temperature has a well-designed continuous variation.

This is Gu Weijing painting this time, and when he saw the heavy rain outside the window, he noticed a subtle change, and he only needed to change it a little to add a lot of color to the final effect.

Otherwise.

All of them are painted on this path with the same dark paint as before, and it will look muddy and chaotic.

Rather than Carroll's refreshment, the feeling of pebbles being blown away by heavy rain and the dust on the surface.

Finally.

When the sun rises in the east and the sky is completely bright.

Gu Weijing left the last stroke of this copying, and relevant prompts were uploaded to the system panel.

[Congratulations, the similarity of this copy is: 73.2%]

[You have just entered the art insight, and you have a certain understanding of the rules of composition of objects, oil painting technique +721.] 】

(End of chapter)

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