Almighty painter

Chapter 825 The Boy Holding the Giant's Head

"Is that it?"

Liu Ziming took another step forward.

“It’s really interesting stuff.”

There was a surge of surprise in the middle-aged man's pupils for a moment, but when he said the last word, it turned into coldness and alienation.

“But for interviews, I don’t see any difference.”

Gu Weijing aroused the interest of Oil Painting magazine, which must be a big news.

Liu Ziming knew more and thought more than Tonks.

interest?

This word is too vague. What kind of interest is it - a critic's interest in a good work of art, or a shark's interest in blood?
The fact that Gu Weijing has attracted the attention of Elena's family does not necessarily mean that Miss Anna has a good impression of him.

It is more likely to make his already dire situation even worse.

Van Dorn was doing well, flying to fashion weeks on a jet and running his own clothing label.

As a result, he went to participate in the recording of a program hosted by a YouTube celebrity, and was scolded by others, which also attracted the attention of Miss Irina.

Liu Ziming has contacted Anna.

She is a very, very difficult person.

After a few contacts, he realized that even for himself, it would be difficult to please the other party successfully, and it would be good enough if he could maintain a nodding acquaintance.

Middle-aged people don't believe in such a mysterious thing as conquering the art manager of Oil Painting magazine and winning his favor through a private conversation.

Why?
Perhaps Gu Weijing revealed something during the conversation, which made editor Elena swim over like a shark that smelled blood, wagging its tail.

Even if he was lucky enough to win the favor of Miss Elena, it would be like writing big words on the park floor with clean water.

It dries when the wind blows.

If someone steps on it a few times, only ugly stains will be left.

The goodwill earned in a few minutes can also be dissipated in a few minutes.

When the materials Liu Ziming has appear on the mobile phones of every guest at the interview site, proving that the existence of the so-called Carol is just a scam by a money launderer, no matter how great the good impression is, it will disappear into thin air.

The authenticity of a paper is of no importance to Liu Ziming.

To the Elena family, where did it come from?

Isn't it the same?

He followed Micah Tonks in silence as they turned a few corridors and finally came to a room with a sign that read "Art Warehouse A".

Tonks took out her key and opened the door to the warehouse.

"Mr. Tonks, I have a request."

Liu Ziming said.

"Hmm?" The curator turned his head and looked at him while turning the key.

Liu Ziming spread his hands.

"This request may be a bit excessive, but... Excuse me, can you please let me go in by myself and look at the painting by myself?"

"I don't really like Gu Weijing, but to be honest, I just want to look at this painting alone."

He hesitated.

"Sorry, it's hard for me to explain why. Just think of it as my quirk."

Most people might think this request is strange, but Cao Xuan suggested that he look at the painting quietly by himself. So Liu Ziming wanted to look at the painting quietly by himself.

When it comes to art appreciation, Liu Ziming has a kind of blind faith and unwavering belief in his teacher.

Blind obedience and faith are undoubtedly evil.

If a person has been teaching for a lifetime and has never made a mistake, when you were a few years old, looking at his works was like looking at a mountain. When you are over 40 years old and look at his works again, they are still like a mountain.

Then this evil act turns into climbers' piety towards the mountains.

"Okay, I understand."

Tonks stared into Liu Ziming's eyes and suddenly grinned.

It wasn't a dog-licking smile. Tonks's smile was more sincere, a smile of "I understand", as if she had seen through everything - "Oh, you still say you don't like Gu Weijing, you're just being stubborn!"

The curator patted Liu Ziming's shoulder heavily.

Liu Ziming's hair stood on end.

Cao Xuan saw the words engraved on Liu Ziming's pipe and patted him on the shoulder, which made Liu Ziming feel a comfort that was difficult to describe in words.

Classmate Old Tang suddenly made the same gesture and patted him on the shoulder, but made Liu Ziming feel something that is difficult to describe in words - confusion?
Do you understand?
No, don't try to understand it blindly. What on earth have you understood?

Liu Ziming himself didn't understand why he came here, and why he wanted to look at the painting alone. What do you, Tonks, understand?

Liu Ziming faced Tonks' sudden smile with a calm expression on his face, but he was confused in his heart.

Tonks was not surprised by Liu Ziming's request.

When the curator first saw the painting, it reminded him of his most miserable and embarrassing days.

The British uncle felt the scorching heat of the sun from twenty years ago. When the original painting was handed to him, Tonks occasionally had the urge to sniffle.

He felt that Liu Ziming had obviously read the electronic version of "The Hustle and Bustle of the World", which was why he made such a request.

Most adults don't like to show their vulnerable side in front of others.

What’s more, Liu Ziming is a man of such status.

"As long as you don't damage it, it's up to you. The works here are insured at a high price."

Tonks made a casual joke.

The bulk of the cost of holding many art exhibitions is spent on insurance premiums. For an exhibition of Impressionist masters like Van Gogh and Monet, which lasts a long time and has many works, the insurance premium alone can easily reach millions, which is enough to buy a small-sized Monet painting.

After all, prices are relative. Except for the exhibition hall in cooperation with the National Museum of Art, most of the works in this Biennale are by new artists. The overall price is just a joke to Liu Ziming.

"I'll write you a double check."

Master Liu said coolly.

He pushed open the door and entered.

"Just close the door when the time comes. I'll be waiting for you in the corridor outside," Tonks said behind him.
-
"Gu Weijing is probably a weird person."

Later, when facing an interview, Liu Ziming recalled his feelings when he first saw "The Hustle and Bustle of the World" and he commented like this.

He walked into a small transit warehouse for storing artworks.

There are dehumidifiers, constant temperature air conditioners and cameras in the warehouse, but it does not have heavy doors and bulletproof safes like a bank vault, and the exhibits are also stored in the open air.

There are two sculptures placed in the open space of the room, and several calligraphy and painting works are hung on the walls.

The moment he turned on the light in the room, Liu Ziming realized which painting was Gu Weijing's "Human Noise".

To be fair, this isn't difficult at all.

Most of the excellent works created by the world's excellent artists have strong emotional characteristics that are unique to them.

Excellent paintings are not dull and boring paintings.

Having unique emotions is the only way to distinguish excellence from mediocrity and filter out gold from the sand.

It is because of these qualities that a work of art becomes a work of art.

What is the difference between an excellent work of art and an ordinary one? Some plants are turned into thin paper through the ancient technology invented by the Dongxia people thousands of years ago. Linen, cotton or palm are woven into cloth and finally added with some pigments. Why can they make people happy, thoughtful, thrilled or tremble?
It's really hard to explain.

It's like some kind of emotional experience that goes beyond the senses.

When people see a painting, they see not only a painting, not a decoration hanging on the wall. To you, those blue, yellow and red brushstrokes are the swaying lavender fields in the south of France, the wind and dust on the loess plateau, and the blood gushing from Caesar's neck when he fell on the steps of the Senate and dripping into the sunset over the city of Rome.

Needless to say.

Sometimes, the situation is completely reversed.

A painting depicting lavender in southern France, the windblown sand on the loess plateau, and Julius Caesar shouting, "Casca, what are you going to do!" and falling down. But in your eyes, you will first think that it is just a simple block of blue, yellow or red, a flat creation of some kind of plant fiber and color roughly piled together.

Don't doubt yourself.

Generally speaking, there are only two situations:

Otherwise, you are not the target audience of this painting, and there is doomed to be no emotional spark between you. It doesn’t matter, it is neither your fault nor the fault of the work.

otherwise.

In fact, it is not a good work of art at all, no matter how many zeros follow its price tag.

The common point of excellent works of art is that they all have their own emotional characteristics. The difference is that the artists have endowed the works with different souls, so the way each excellent work of art expresses itself is often different.

Take Tang Ning’s works for example.

When looking at Tang Ning's works, Liu Ziming always seems to have headphones in his ears, which are the art guides that can be rented in art galleries - "Pay attention, there are three subtleties in this stroke, and the most subtle one is the turning point here...", "Pay attention, the use of colors here is wonderful", "The most important thing is here, it's great, people who understand will naturally understand.", "Wow, the treatment here has the shadow of her teacher..."

Liu Ziming could imagine that the owner of that rhythmic voice must be like a TV shopping host, wearing a custom-made suit, reciting the "100 Reasons Why Tangning is So Great" in his hand with great emotion. After finishing the script, he added, "Don't want 199 million, don't want 99, today's sale, today's sale, only 39 US dollars, you can take Tangning's work home. You won't lose out, you won't be fooled--"

Liu Ziming was very disdainful of Tang Ning's ostentatious painting style. He felt that his junior sister's ambition was just to be a shopping guide.

however.

Although Liu Ziming didn't like it, he admitted that it was like a salesman chattering in his ear, which was also a special extrasensory experience.

Tang Ning's works can also be considered excellent works.

The oil painting on the central wall of this warehouse is excellent in another sense.

Quiet.

Solemn.

Like a mute swordsman, the sword stabbed straight into his chest without any fancy moves.

Blood splattered everywhere.

……

Dappled sunlight fills the picture.

The man sits in the center of the interweaving of light and darkness, looking out of the picture, looking in the direction where the light is coming from. Behind him, the characters in the drawings hanging on the wall are looking at him.

These things are all the elements of the picture in front of Liu Ziming.

"An Impressionist sketch."

He had previously seen two painting styles of Gu Weijing.

Mr. Cao liked Chinese painting and was a master of it, so Gu Weijing painted a Chinese painting called "Wisteria Flowers" and gave it to Cao Xuan to please him.

Singapore is located in Southeast Asia. Hundreds of years ago, it was a place where Eastern and Western cultures converged and integrated.

The fusion of Eastern and Western styles is relatively popular.

The success of Wu Guanzhong's works in Singapore has proven this.

and so.

Gu Weijing also participated in the exhibition by preparing a painting that blended the characteristics of Eastern and Western aesthetics, which won the praise of the judges.

"The purpose is clear and the utilitarianism is strong."

This is the evaluation Liu Ziming gave to Gu Weijing.

Gu Weijing's painting style is varied. Considering his age, he is a very good painter and has real talent. He also seems to want to "win" something with every painting, and his painting is clearly profit-oriented. Therefore, middle-aged people will regard Gu Weijing as the second Tang Ning in their hearts.

From Liu Ziming's perspective, this was naturally a contemptuous criticism.

But I think Tang Ning would probably have something to say about this point of view.

Objectively speaking, comparing any young painter to the second Tang Ning is indeed a great compliment.

Liu Ziming never said that Gu Weijing's paintings were bad.

He just thought Gu Weijing was boring, just as boring as Tang Ning. The two of them should form a group and debut together, holding a big speaker and shouting that it's only 998.

The impressionist oil painting in front of him is the third style of Gu Weijing's painting that Liu Ziming has seen.

It shouldn't be surprising.

Didn’t this guy just write an Impressionist paper? Strike while the iron is hot and paint another Impressionist work to participate in the Lion City Biennale, enjoying the heat twice and benefiting from it twice, which is completely in line with Liu Ziming’s idea that Gu Weijing has always been utilitarian.

however.

"Not surprising." This comment was stuck on Liu Ziming's lips and he couldn't say it out loud.

Not surprisingly?
Nonsense.

It's just so weird.

"Wisteria Flowers" is good, but Liu Ziming doesn't like it.

"Good Luck Orphanage in the Sun" is good, Liu Ziming likes it.

This painting "Human Noise"?
It can no longer be described simply as "good" or "like". Compared with the two works above, it has reached another level entirely.

If a person could create such a work simply out of a strong utilitarianism and a desire to win an award, Liu Ziming felt that he might as well become a person with a stronger utilitarianism, as he also wanted to win an award.

The same picture painted by the painter on the canvas can inspire different imaginations of the audience.

According to Hume's theory, beauty does not exist in the objective world. It is not an attribute of things themselves. It only exists in the mind of the viewer.

The Impressionist style of painting, which has a strong subjective temperament, shows this feature to the fullest.

"David Carrying Goliath's Head" - in front of Gu Weijing's "Human Noise", under the gaze of the man sitting on the sofa in the picture with light and dark shadows intertwined.

The first thing Liu Ziming thought of was a famous painting from 400 years ago.

The shepherd boy holding the giant's head in Caravaggio's painting.

(End of this chapter)