Almighty painter

Chapter 1000: The Rebirth of Life

For the next few months, Gu Weijing would often spend hours at a time in the small studio he rented.

Again.

As the exhibition approached, he repainted almost all the works he wanted to submit from beginning to end. While maintaining the overall appearance of the paintings, Gu Weijing used this as a basis to reconstruct the content and style of the entire exhibition.

Gu Weijing felt the insight of art flowing around him.

Gu Weijing has always been a person who is good at observing life.

This time, he observed with exceptional care.

More than just four weeks of life —

He observed more than just the endless days and nights around him.

Gu Weijing began to observe himself carefully, letting such insight surround him like ripples on water, slowly, slowly seeping into his body.

When I was young.

There was a large river in front of the house, its waters clear and calm. Perhaps this river brought Gu Weijing a sense of tranquility and peace to his life.

The creation of life is always related to water.

Spring, summer, autumn, winter; life, death, withering, and prosperity.

The great river always flows on.

Gu Weijing once stood on the riverbank, gazing at the water for an hour at a time, watching the sunlight, stars, moon, and the different colors that the surrounding lights created in the ripples. This formed Gu Weijing's earliest observations of the colors of nature during his childhood.

Monet's "Impression, Sunrise" and Van Gogh's depiction of starlight reflected on a lake instantly captivated Gu Weijing's attention. It seems that this cannot be simply summarized by the word "talent."

So-called talent is nothing more than the reward of life after day of hard work.

As Carla mentioned in her diary, her artistic dreams, her imagination and capture of the changes in Impressionist colors, and her artistic insights were all firmly entwined with the fiery clouds burning in the sky at sunset in Paris.

The same applies to Gu Weijing.

One goes upward, the other downward.

The great river in front of Gu's calligraphy and painting shop was the fiery cloud that Kara saw on the Parisian horizon.

The wide riverbed nurtured Gu Weijing's insight into life and his ability to capture the ever-changing light and shadow.

"Go be your Van Gogh!"

When Gu Weijing was chatting with Anna, they talked about Van Gogh's mindset during his creative process.

Van Gogh worked as a pastor in his early years and as a missionary in the Borinage mines. Later, the church dismissed him because he was "not respectable enough." He felt a strong disillusionment with the church and hoped to find salvation through art.

Painting became a new way for Van Gogh to seek spiritual sustenance.

According to Miss Anna, she often found a kind of redemptive joy in Van Gogh's works.

Van Gogh rarely painted epic masterpieces like Turner or Menzel, but many of his works—by this seemingly madman—have an exceptionally warm undertone.

The Elena family are traditional Catholics.

Miss Elena said that some historical documents she had come across recorded that during the Renaissance, some monks in European monasteries, when compiling their collections, would imagine that a Holy Spirit possessed them, that a great being descended upon them, and that they wrote words full of divine aura.

After witnessing the hypocrisy of the church.

Van Gogh prayed to the Muses, and the Muses "descended" upon him.

Van Gogh painted with a direct passion for life, projecting himself completely onto the canvas, manipulating his fingers to paint "Self-Portrait" and the muse of "Sunflowers," which was actually his own more emotionally rich self.

"Where affection is awakened, life is reborn."

Vincent van Gogh dissected himself; he was no longer just an observer of the world. He poured all his experiences—his circumstances, his confusions, his joys and his sorrows—into his canvas, ultimately creating his own "Starry Night."

Gu Weijing was also constantly observing himself.

The sunlight reflected on the river, the ever-changing colors, influenced Gu Weijing day after day.

One hundred and fifty years ago, Kara immersed himself in the sea of ​​clouds, transforming them into oil paintings. Today, Gu Weijing, gazing from the riverbank, strides forward, immersed in the artistic dreams of his youth.

"Plop" sound.

Gu Weijing stepped forward and jumped into the river.

The waves crashed on the shore.

……

distance.

Anna Elena, who lives in the manor, has been reading for months.

She reread many of the works she had seen before. The words were still the same, but she had different feelings about them.

“Miss Elena! You feel for Kara’s pain, making her cry. But the world is not just about the pain of the Elena family. There are many people in the world who are more miserable and less free than Kara.”

That day.

What Gu Weijing actually wanted to say was... why you felt so disgusted and pained by Count Elena's arrest of Carla. When he was criticizing Sir Brown, he eloquently declared that money was a poison that corrupts art.

But she could crush Williams with her wealth without even blinking an eye?
"Just because he made me unhappy?" Gu Weijing asked.

Very simple.

Because she is Miss Elena.

Anna always thought, "That's so true. The Elena family has always been like that—so cool, never tainted by a speck of dust, always spouting grand principles, always striving to become powerful, always possessing noble spirits, always believing that suffering is a gift from fate that tempers the strong, and that they only support the strong and applaud only the powerful souls."

—Until one day, it actually happened to me.

It's like in the book in your hand, each person is originally a page in a storybook, a puppet with a few lines of words inside.

The audience of this puppet show is less like the viewers and more like God. Anna Elena is God; she is as powerful as God, she possesses the world like God, she is omnipotent like God, and she can get everything she wants.

until one day.

You really feel like you've stepped into the pages of a book.

She gets angry when the character is angry, and she suffers when the character is in pain.

then.

This story presents a different perspective.

"Now you understand that there's nothing else in the world besides yourself. Until now, you only knew yourself! You were originally a simple child, but in the end, you are a heartless person! So, listen carefully, I now sentence you to drown yourself in the river!"

Miss Elena turned the pages of the German novel written by Kafka in her hand.

The woman watched as the protagonist of the novel, Georg, was scolded by his father, walked to the riverbank, climbed over the bridge railing, and clung tightly to it.

Georg was suspended in mid-air.

I feel increasingly powerless.

When a bus came along, she let go of his hand, saying, "Dear Father... I have always... loved you." Then she jumped into the river.

Anna felt an indescribable bitterness. "You heartless wretch, why don't you shoot yourself in the head? I sentence you to death!"

Miss Elena always thought of herself as God, or at the very least, as someone who reprimands others.

Over the past few months.

She felt that she was the one being constantly scolded by herself.

……

Gu Weijing is painting in his studio.

Miss Elena is reading at the manor.

"Meow! Woof!"

On the other side, in a ranch in the suburbs, tabby cats and dogs are happily patting an automatic feeder.

Awang glanced at August, who was leaning down and licking his lips with his large, pink tongue.

Kid? What is life?!

This one.

That's what life is all about.
-

Unlike Deckard Anlen, Mr. Williams rarely went to art exhibitions.

There seems to be a prevailing opinion in the commentary community.

People who love music should naturally love painting; those who enjoy listening to music and those who enjoy going to art exhibitions are often the same group of people.

This is probably a fallacy.

Williams had never been to any art exhibition before.

Going back a century or two, in Debussy's time, or even earlier, musicians and painters were likely part of the same circle. They lived in the same city, frequented the same art salons, and might even have shared patrons.

They often have very similar social circles and networks of friends.

Therefore.

They also have a high probability of becoming friends.

to be honest.

The "Master Project" run by the art department Williams attends today is pretty much the same thing. The only difference is that the court balls have been replaced with modern resort hotels, and back then, there probably weren't people like Sarah in the art salons, retaliating against society by giving everyone a "U" and sending them away.

despite this.

In today's society, relationships between people have become atomized. No one requires that someone who plays the violin must also know how to paint, and no one requires that someone who knows how to paint must also know how to play the violin.

Look at what Gu Weijing's music sounds like.
disaster.

When Williams entered the exhibition hall, he thought to himself that it was very unfair to expect him to appreciate paintings at a higher level than Gu Weijing was at playing the viola.

Unlike Deckard Anlen, who merely glanced at the art exhibition and then hurriedly left.

Williams spent about an hour and 40 minutes looking at Gu Weijing's exhibition for the first time.

He came filled with jealousy.

The exhibition, however, kept him stuck in place.

Williams had no concept of the scale of a solo exhibition, nor did he think the exhibition was pitifully small.

in contrast.

He thought the exhibition was very large, so large that it was like a complete symphony performance.

It features hundreds of musicians, a conductor, a wind section, a string section, a percussion section, a complex arrangement, a complete three-part structure, and an overture, climax, and coda.

the most important.

Here, he witnessed a solo performance by Paganini.

What truly captivated Williams was a painting of the Starry Night, which was perhaps the largest and most complex work in the entire exhibition.

Many of the works in the exhibition are small and exquisite. For example, there is a painting that also impressed Williams, which is full of roses that seem to be folded by space, and the widest part is no more than half a meter.

The painting is nearly 1.8 meters tall and looks as if it was splashed with paint.

Nebulae collide with each other in the image.

To reiterate, Williams rarely attends art exhibitions. He doesn't understand oil paintings, he dislikes Gu Weijing, and he even views the invitation to the entire exhibition as a mockery and provocation from the victor.

He felt that "running away" would be too cowardly, and he came here to defend his dignity as a man.

But if anyone, in the past few months, has been tormented by pain like Williams, lost in the maze of notes like Williams, or even practiced Paganini's pieces with a frenzied obsession like Williams...

Then anyone, like Williams, would be unable to help but frown and stop upon seeing this work.

Williams glanced at the label on the frame—

Title: Rhapsody in the Night

"Artist: Gu Weijing (Mash Gallery)"

A nighttime fantasy?
This is not a fantasy of the night; it is clearly a Capriccio in A minor painted on paper.

The moment Williams saw this work, he felt displeased. As if in a show of defiance, Gu Weijing painted the entire "Capriccio in A minor" that had defeated him on the canvas.

A famous legend in music history.

Debussy saw a woodblock print called "The Great Wave off Kanagawa" and was inspired by it to create his famous piece of music, "La Mer". When the album was released for the first time in history, he chose this work as the album cover.

Williams has always been skeptical of such stories.

After seeing this painting, titled "Night Rhapsody," Williams became convinced that music and painting did indeed have a strong connection.

After arriving at the exhibition, Deckard Anlen did not stop for any particular work.

Like an apple repeatedly tapping on Mr. Anlun's head, it was not so much a particular work that struck him, but rather the visual force field created by the condensation of all his works together.

This painting, "Night Rhapsody," struck Williams like a bullet into his heart.

The two cowboys were shooting at each other.

Williams' gunpowder had become damp, causing the chamber to misfire. Not just one shot, but six shots in quick succession, each jamming and failing to fire. Williams could only conclude that this was perhaps fate, that Guan Yu or Anna Elena had simply stopped the bullets.

He just can't make a sound.

He just can't become a great musician.

But the gun made a loud noise in Gu Weijing's hand, shooting him straight through the heart.

When Gu Weijing creates his works, he imbues his brushstrokes with a strong will. He seems to want to convey his highly abstract feelings to all the viewers present through his paintbrush.

(End of this chapter)