Almighty painter

Chapter 841: Moonlight Palm and the Priest (Part )
Yu Tian Liye's hand shook violently, and the tip of the ballpoint pen left a mark of ink on the paper.

He accidentally smudged the last few words of the line he had just written: "...Carroll attempted to use light and dark contrasts to present a tense mental illusion."

Mr. Yutian is a person who loves taking notes, especially when he is listening to lectures by other artists - there are many lectures in the art industry, and there are lectures in university art academies not to mention every day. Throughout the week, there are always some celebrities and visiting scholars who come to give lectures or conduct academic discussions.

Many colleagues secretly listened to music, played with their mobile phones, and dozed off in their seats.

Yutian Liya always takes a small notebook and meticulously writes down the content that interests him.

A good memory is not as good as a bad pen. He has his own thoughts in it.

In addition to artistic aesthetic ability, curators also pay great attention to interpersonal social skills.

believe him.

Yutian Li has also proved through his own practice for many years——

If you have the opportunity to meet the speaker in the future, flip through your notebook in advance and start with "Mr. XX, nice to meet you. I am very impressed by the point of view you put forward last time. You provided me with a very good idea." or "Mr. XX, nice to meet you. Your dress today was designed by Junko Shimada (note). It is so beautiful and really impressed me."

Unless the person he wants to meet is Japan's national treasure fashion designer Junko Shimada, the former would definitely be a more favorable opening for the other party.

This is called providing emotional value.

Everyone has their own unique social skills.

Curator and museum director Mika Tonks provides emotional value to others with her 32-tooth smile, while curator and scholar Rikiya Ameda provides emotional value to others with the many notebooks he has accumulated over the years.

Decades have passed, and his filled notebooks add up to more than 32, and when stacked together they are much taller than the petite Mr. Yutian.

Student days.

With this skill, he successfully became the disciple of a highly respected senior mentor in Tokyo.

Today, Yutian Li also relies on him to open the hearts of those lonely artists and bring them to his exhibitions.

There are times when Yu Tianli takes notes without such a strong utilitarian purpose.

Just like now.

If we say that before coming to Singapore, his attention to Gu Weijing was largely due to Sakai Kazunari.

A week later, Mr. Yutian had a very different opinion.

When Riki Ameda heard that Katsuko Sakai would not participate in today's interview, he was very disappointed.

He originally planned to write down two wonderful sentences from Sakai Katsuko's speech, so that when he met Sakai Kazunari again later, they would have a lot of topics to talk about.

such as--

"Sakai-san, nice to see you again. I still remember your daughter said something last time. It was really impressive."

believe him.

This has also been proven in practice.

Praising someone's children can provide more emotional value to the other party than praising the person himself. Just chatting for a few words, Sakai Kazunari, who was not happy, was shaking all over, and he easily earned the art exhibition.

If Gu Weijing was replaced, the effect would not be so good.

After witnessing the art discussion between Gu Weijing and Cui Xiaoming that day, Yu Tian Li also had expectations for Gu Weijing's lecture to a certain extent, but he did not force himself to gain something from this dialogue and interview.

Rikiya Ameda brought a notebook today simply because he has the habit of taking notes.

If there is an opportunity in the future, I can also provide emotional value to the other three guests in the audience or the art director of Oil Painting magazine.

The reactions of other guests can also explain the problem to a certain extent.

A few days ago, when the European art master who won the Venice Golden Lion Award was giving an art lecture, everyone around him was writing, and many of them were recording.

But today.

except him.

Everyone's reactions were very relaxed. It seemed that most of the judges and guests in the room came just to "watch the fun". No one felt it necessary to take notes at this kind of lecture.

The contrast and contrast are very obvious.

But after half of the interview, Yutian Liye forgot to observe everyone's reactions and was simply attracted by everything happening on the stage.

Let’s not talk about it and let Yu Tianli learn something.

at least.

This is a truly impressive academic dialogue.

The three guests performed very well and were very informative. They had clear positions and were tit-for-tat. They had also made extensive preparations. New content was constantly thrown out, accompanied by new questions and new answers.

Sparks fly.

Gu Weijing's performance actually left a deep impression on Mr. Yutian.

To know.

Today's scene is very grand. Most lectures or interviews in the art industry do not have a large number of people. They are not like celebrity concerts, especially those held in schools, where the main audience is not students. In many cases, a larger cafe or bookstore can accommodate all the guests, hosts and audiences. Many lectures are indeed held in such places.

But today there are thousands of people.

It was a huge event, hosted by Oil Painting magazine itself, and the scale of the event seemed to be pushed to the limit.

The psychological pressure of facing other people's doubts in such a place is not comparable to the casual words between Gu Weijing and Cui Xiaoming in front of dozens of tourists watching the fun.

To put it in a positive way, the bigger the scene, the more attention it will receive.

To put it in the worst possible way.

A little carelessness.

You can then fast forward to the part where Mr. Yutian starts reading for him: "Zhao Gao of Qin, Wang Mang of Han, dreams on a spring night, dust before the wind."

Qin Wuyang was usually arrogant and would chop people up if they disagreed with him. But when he was in front of the First Emperor, he couldn't even stand steadily.

It's not just Gu Weijing who is at this scene.

If Yu Tianli also went up, he might not show it on the surface, but he would be more or less nervous inside.

Just because a young man of his age could chop Cui Xiaoming to pieces during a verbal exchange in the exhibition hall doesn't mean that he wouldn't be so nervous that he couldn't even speak clearly if he met the art director of Oil Painting magazine.

However, no.

Gu Weijing performed really well.

Of course, he was far from being able to casually dismiss the three guests. He even had trouble keeping up with the pace of the conversation at times, and seemed quite at a loss when faced with certain questions.

despite this.

But Yu Tianli still had to say that he felt that Gu Weijing actually performed very well. If he or a more professional scholar were to go up, he might be able to quickly give a more professional explanation on technical issues, but he would not be able to perform better than this boy who was less than half his age.

Because Gu Weijing is a different person.

Yu Tian Li couldn't really say what was so special about Gu Weijing. Many artists have distinctive styles. Hirst and Andy Warhol both followed the path of trendsetters. Although Kazunari Sakai is now following the path of a sumo wrestler, he has seen photos of Kazunari Sakai when he was young.

That's really handsome.

People like Oguri Shun and Kimura Takuya can generally be called Osakai Kazunari.

Gu Weijing does not have such a strong personal style. To be honest, he has an ability that makes people want to listen to him - a kind of calm tranquility.

He and the female host on the stage have completely different feelings.

The young art director of Oil Painting magazine possesses dazzling power and a strong sense of dominating others at all times, as if he is burning with a moonlit flame.

Although it is moonlight, it is seductive and scorching enough.

Gu Weijing?
He was... a palm tree that was shielding itself from the burning moonlight? Listening to this seemingly ordinary young man, Yu Tianli felt as if he was lying in the shade of a tree on a deserted island beach, closing his eyes and listening to the sound of the sea water lapping through the cracks in the rocks.

It's not just Yu Tianli.

In the opera hall that can accommodate thousands of people, many tourists, many judges and guests had similar feelings in their hearts.

On a windless night, the sound of the tide rushing over the rocks will not be like the splashing thunder, which will instantly grip people's hearts.

But people are willing to listen.

His voice, posture, body movements, and every action were as calm and peaceful as water waves.

They were willing to listen to him and his insights on the paper, even though Gu Weijing could only give very childish answers.

What's more.

Gu Weijing is not limited to giving childish answers.

His answer was actually quite mature as well.

Although Gu Weijing did not understand the difference between lead white, zinc white, and titanium white, and had never realized the significance of the appearance of a rare pigment like titanium white in early Impressionist works before Rosings pointed this out, he was able to express some insights that Rosings, Alexander, or Dr. Gustav had expressed, and gave answers that were beyond their expectations.

Most of the time, the three guests were thinking about the painting with a scholarly research mindset.

They acted like Sherlock Holmes holding a magnifying glass and looking for clues at the crime scene, with strict procedures, clear logic and full of academic qualities.

Gu Weijing was thinking about this painting with an artist's mindset.

He behaved more like the painter of "Old Church in a Thunderstorm", trying to find emotional resonance in this work.

This is probably the reason.

Young people often give very emotional answers.

It's not precise enough, but it's moving enough.

The combination of the two formed a wonderful chemical reaction. The guests on the stage each had their own opinions and sparks flew, but the audience below felt a sense of peace and fulfillment.

well.

Yu Tianli also likes this feeling.

An excellent artistic dialogue should make those who hear it feel peaceful and fulfilled.

Even Yutian Li didn't notice it.

The guests around him who didn't take notes were listening very carefully.

The dialogue and interview between Oil Painting magazine and Gu Weijing had a prelude full of joking and frivolousness, a noisy beginning, but a peaceful and fulfilling process.

Compared to the whispers that sounded from time to time at the beginning.

After the conversation was halfway through.

The guests on the opera's proscenium stage were still arguing, still quarreling, and still arguing, but the audience below the stage was becoming quieter and quieter.

Compared to the discussions.

They began to listen more carefully.

This is a very subtle, but crucial change in attitude.

It was precisely because of this kind of fullness, devotion and immersion that when Anna's applause rang out, it scared Yu Tian Liye and powerfully drew his mind away, causing him to draw a dirty ink line on the paper.

The short but stocky scholar stared at his notebook and pouted.

He has a bit of aesthetic obsession.

He stared at the ink line that was accidentally drawn, hesitated for a moment, carefully followed the brushstrokes just now, and changed the unintentional ink line into a small crescent-shaped decoration, then he breathed a sigh of relief.

"Gentlemen, I have to make an interruption."

He heard the hostess on the stage say.

"I noticed that our conversation has reached a stalemate at the moment." She turned her head to look at Professor Rosings and Dr. Gustav.

"The paint, the style... we have talked about a lot of things today. Let's first confirm that you do not deny the possibility that this painting was indeed painted on Christmas Day 1872, do you?"

The woman in the silk gloves began to dominate the conversation.

"It's not zero?"

"There's a million-dollar check under a stone you see everywhere on the roadside," Rosings hummed. "It's not zero, but it's probably very close to zero."

"Ok."

Rosings glanced at Gu Weijing.

"Maybe it's not infinitely close to zero, but someone used modern pigments to paint in 1872... I think it's a very small probability."

"What about you, Doctor?"

"As Mr. Rosings said, there are doubts, but as this gentleman said, there are also special possibilities." The doctor nodded. "We know that painters are polarized. Most are poor, and some come from wealthy families. The main problem is that there are too few solid documents to prove everyone's speculation."

"I don't think it's rare. In that era, people who could travel long distances had good family conditions. It wasn't a problem."

Alexander said.

"Why can't she be a gold digger who couldn't survive in her native land and went to the Far East with the dream of getting rich?" Rosings said bluntly. "If you say so, I would say she is the daughter of Rockefeller. Just guess. Traveling? Where did you see anyone saying she went traveling? The difference between academic research and speculation lies in whether there is reliable literature to support your speculation."

"What kind of reliable conjecture is this? A diary of Leonardo da Vinci's assistant that no one knows where it came from, and a list of the collections of King Charles I of England who mysteriously disappeared after the 18th century, and the British Museum and the National Gallery are so sure that they have found Leonardo da Vinci's authentic works?" Alexander immediately responded, "Why are they being so hypocritical now? I don't think this is any different. At least the missionary's diary also has a description of Carroll's appearance, instead of just a few words like 'Christ the Savior' in the diary."

"The British Museum has never officially endorsed Salvator Mundi, ever."

Rosings shook his head.

“You are so unprofessional. The museums just characterized the painting as ‘doubtful’ and invited different scholars to hold academic discussions, just like what we are doing now.”

He seemed to think Alexander was too low-class and turned his head directly to the female host.

"Ms. Elena, can you say that Oil Painting held this dialogue interview today, and based on the name of "Oil Painting·Gu Weijing: The Discovery and Research of Impressionist Female Painter Carroll", it is determined that Oil Painting endorses the authenticity of Mr. Gu's paper?"

"Do not."

Anna replied calmly.

"Just based on the title of the talk, of course not."

She stretched out her hand and stopped the two people who were about to fight each other.

“But finding the problem—that’s what Oil Painting magazine has always done.”

Anna thought for a while.

"We have found many questions today, so now may be the time to find the answers. Regarding the literature, Oil Painting magazine has done some research, and one of the documents may be able to help you."

She pressed a remote control on the table.

The images on the large projection screen on the opera stage change.

Yutian Li also narrowed his eyes.

He saw that the projection screen, which had been displaying the large photo of "The Old Church on a Thunderstorm" during the guests' argument, had changed into a completely new display.

That is--

A list of missionaries from the headquarters of the Church of England?

(End of this chapter)