Almighty painter

Chapter 925 Sand Painting
"well said."

Gu Weijing imagined the image described by Anna.

If it were her, would she see the same scene in the ripples of water dripping from the leaves?
The sun dripped through the gaps between the branches and leaves, like a golden poached egg with a runny core.

"It's just that, for me—"

Gu Weijing listened to the subtle sound of his own flame burning.

"It's too strong, and too..." Gu Weijing spent a long time looking for the right adjective. He stretched his fingers to the fire in front of him and warmed himself like Anna did.

"—It's too hot."

He said.

Anna frowned slightly.

She motioned for the other person to continue.

"The sunshine at noon will eventually pass, drop by drop, drop by drop, and the sunshine will slowly flow into the night. This is the nature of time... Time makes everything in the world fragile."

"A hundred years ago, did the Impressionist painters observe the sun like we do? Monet and Renoir must have recorded the sun and air with great joy. But the sun and air died together the moment they were painted."

"The dancing men and women will separate, part ways, and grow old. The Impressionist painters will reunite and leave each other. Monet used such passionate brushwork to record Camille holding a parasol in the bright sunshine. But in the end, many years later, he will sit alone in his manor, looking at the reflection of the pond, tears flowing from his old eyes."

"One drop, one drop, one drop."

Gu Weijing said.

He put his palms together.

"In this case."

"The two images of the old Monet and the young Monet overlap in the painting Woman with a Parasol. So, looking at that painting... is like looking at a memory of the past... an urn emitting warmth, a portrait of a beautiful love."

Gu Weijing said seriously.

"It is noon now. The sky is high and the sea is vast. The sun is shining brightly. Noon should be very bright and prosperous. It is too gorgeous and lingering, so it is also too fragile."

“All prosperity and happiness are often fragile.”

"At noon, the small golden sun rays reflected in the water droplets dripped into the stone drop by drop, splashing and shattering, which was a symbol of this fragility..."

Gu Weijing picked up a slightly thinner branch.

“It’s like painting on sand,” he said.

The young man held the branch as if it were a pen, and lightly sketched on the sand beside him.

Anna listened carefully to Gu Weijing's words, clasping her hands on her knees, her whole body immersed in the light and desolate imagination he described, as if she was listening to water drops hitting the stone steps, one drop after another, slowly dripping until the sun sets and the long night comes.

The cold imagination was like a pool of cold water, splashing on her body, slowly fading away the fanatical feeling of happiness in her heart.

Anna sat by the fire.

She shuddered slightly.

An emotion disappears at its strongest point.

The cold winter passed, and when Claude Monet and his wife were walking on the lawn outside Paris, the shadow of separation had already loomed over them.

Kara's passionate painting of "Old Church in a Thunderstorm".

Kara was taken back to Elena Manor by the butler and died.

So happy.

And it's so painful.

In the spring of "Prattle Park", the count's lover, when her numerous suitors were about to arrive, indulged so sweetly in the memories of yesterday's love, just like a person hugging the embers of the past.

Anna was just so intoxicated in the long-lasting feeling of happiness.

Would it be possible that... the seeds of boredom and dejection were also planted when happiness blossomed in her heart?
There is a sense of tranquility about Gu Weijing.

At a Bacchus banquet, everyone was drinking to their heart's content and exchanging passionate kisses in the moment of joy.

He was just staring at the wine glass in a daze.

Anna turned sideways and looked at Gu Weijing's casual writing on the sand.

"Don't you paint an impressionist picture?"

She stared at Gu Weijing's pen-holding posture in the middle of the branch and said, "I thought your painting would be an impressionist work... Why not?"

The woman stared at the scenery in front of her.

Such scenery.

Such gorgeous sunshine, such sea and sky.

Being here, they felt like they were in the world of Monet's paintings. It was natural for them to paint an impressionist work that recorded the sunlight and air.

Gu Weijing didn’t.

There is not even a drawing board here, so I just use a branch to draw some lines on the beach.

No matter how sharp and ruthless a woman is as a critic or editor, she cannot tell whether Gu Weijing is painting Impressionism, Pre-Raphaelite, Romanticism or something else just by looking at the lines of a few stars... Maybe he is painting something on the sand, but it looks like an abstract work.

It is not Picasso's abstract art with exquisite structure, wild imagination and strong geometric shapes all over the picture.

Rather, it is the abstract art that is pure and "silly" when children scribble on paper.

Anna noticed that Gu Weijing's posture of holding the paintbrush was different from the normal way of holding an oil painting brush. His four fingers were bent at a certain angle, dragging the branch, with his thumb pressing against the outer edge of the twig, and the entire twig stretched toward the sand at a relatively upright angle.

"Perhaps that is the case."

"It's too much like an impressionist landscape. I think a different way of painting can express it better."

Gu Weijing replied.

The leaves are like water, dotted with dots until the sky is cloudy.

Just now when the young man was collecting firewood in the woods, he had the idea of ​​painting a Chinese painting.

Impressionism is certainly good and great, and it changed the entire art industry... Of course, of course, the greatness of Impressionism needs no elaboration, and that strong subjective impressionistic style is unique in the entire field of oil painting.

That's about it.

A few times.

Some works.

It will seem absurd and weird to the audience who cannot understand it.

To Gu Weijing, who was still feeling a little dizzy, the surrounding scenery with its highly saturated colors looked like a colorful bombardment.

It gave him a headache.

The scenery is strong liquor.

Therefore, he was eager to hide under the shade of the Chinese paintings that he had learned since childhood and drink a cup of tea.

The strong elements of Chinese paintings can naturally also be strong liquors.

It is very elegant when it is light.

Gu Weijing likes it very much.

People who are sleeping in a hangover will drink a cup of tea after waking up.

To sober up.

Anna tried to watch Gu Weijing painting for a while.

Mainly look after the sutra.

Look at his eyebrows, look at his jaw, look at his eyes under his brows, look at the way he holds the pen and paints seriously.

Some parts of this face still retain childishness, and there are still some scars on the face.

Such childishness, such a sense of tranquility, and the calm steps he took yesterday when he stood up from his body and walked towards the gunman, all mixed together, giving this soft face some... extra lines and style.

Young people are very introverted people.

Even his concentration was very restrained, and it took a long time for his eyelashes to slowly blink in unison.

He lowered his head and drew a line on the sand. When he lowered his head, his facial features were hidden in the sunlight. Anna stared at the back of his dark head, and the lines of his spirit became more and more solid and clear. Was this how Monet observed Camille and painted "Camille with a Parasol"?
The veil is lowered.

Her precise facial features became blurred in the hazy sunlight, but the lines of her spirit became clearer.

Monet and Camille.

Women and Gu are the classics.

They have different identities and perspectives, and even the identities of painter and observer are swapped.

The sources of happiness are also completely different.

Monet was observing Camille because he was just immersed in the happiness of their shared love.

Anna was observing Gu Weijing because she was immersed in the happiness of their joint creation.

Only in this way can it be similar to the temperature burning in my body just now.

Gu Weijing is painting.

Anna felt that while she was staring at Gu Weijing's face, she was also painting.

Ok.

It’s not that Anna insists on staring at Gu Weijing’s face and not looking at Gu Weijing’s paintings.

Magic mirror, magic mirror, tell me, the person on this island who is more beautiful than the sea is me, right?
When asking this question.

Miss Elena doesn't even need to prepare poisoned apples.

The main thing is... she said honestly that Gu Weijing's paintings were really nothing good to look at.

Miss Elena has not had much exposure to Asian art, whether it is Chinese painting, Ukiyo-e, or some silk paintings and murals from Southeast Asia.

Her review direction is mainly concentrated in the "oil painting" category, plus some gouache and watercolor, which are relatively traditional review directions of "Oil Painting" magazine.

Other parts.

The magazine has a dedicated section editor in charge.

Each artistic style often has its own unique charm.

The less contact one has, the less one understands, and the corresponding sensitivity will be lower. Whether her last name is "Irina" or not, it will not change this.

Painting is like music.

Very good music is often universal, able to express people's common emotions and inspire empathy in everyone.

A moving melody, whether played on the piano, folk music, or marimba, has the power to make people stop and listen.

The same goes for painting.

The falling wisteria flowers in Gu Weijing's painting "Wisteria Flowers" reminded Miss Elena of a piano piece with notes falling like pearls on a jade plate.

I want to feel this kind of charm.

There are at least two elements.

the first.

Admirers should not be blinded by arrogance. Arrogance will make people impetuous and make the most outstanding masters perform worse than a beginner.

Because they simply lost the ability to appreciate.

second.

At least it has to be a good work of art, and at least it can't be too abstract.

Gu Weijing was obviously the latter. He had never practiced painting on sand, nor had he ever practiced holding a thin stick as a brush, especially when painting those small and delicate scenes.

The awkwardness of the performance is quite similar to Zhang Fei embroidering with the Zhangba Snake Spear.

To put it bluntly, the level of the lines drawn by Gu Weijing on the sand should be better than a child's scribbles, but it is not far away from the level of "graffiti".

If you appreciate it as a formal work of art.

Who drew this?

Anna could make him cry in private.

Considering how seriously and attentively Gu Weijing painted... at most, she would like to use the word "cute" to describe it.

"I still think that this kind of subject matter is best presented in an impressionist style. The scenery is suitable, and you are also good at it..."

Anna stared at Gu Weijing as he finished painting and then wiped it away with his arm.

She offered her suggestions.

"How about trying to sprinkle some water? To make the sand stick together?"

The two people had a brief conversation.

"Forget it. I'm going to take a shower."

Anna made a classic speech as a goddess, bringing the conversation to a temporary halt.

The thing that is most in short supply on a desert island is water.

Bathing in pure high-salt seawater may have potential risks. Although it is called bathing, it is actually just a simple cleansing of the body.

Before Gu Weijing went to collect firewood.

Anna and he had used the guy lines from the life raft and their silver thermal blankets to keep warm at night to hang a curtain on the beach between the branches of the two nearest sea trees.

They can first wash their bodies with sea water, and then use a small bucket of filtered fresh water to scrub their bodies.

Now that we have lit this fire, an additional use is that it can quickly drive away the cold after taking a shower.

Anna slowly stood up holding the long wooden stick.

Gu Weijing nodded.

He held a branch in his hand and stared at the graffiti on the sand by the fire, sitting upright and using his tense eyes to show his upright posture as a gentleman to prevent Anna from feeling nervous.

looks.

He was more nervous than Miss Elena.

Anna glanced at Gu Weijing's silly look and thought that there was no need to say any warning. She pursed her lips and revealed a fleeting smile, walked behind the curtain not far away, and began to wash her body.

The texture of the sand is soft and loose.

The brushstrokes are scattered when the branches are lightly swept across them, and a little bit of sea water is added, and the lines look like a silted and blocked riverbed, presenting an irregular shape, with mud and sand piled between the brushstrokes, making it impossible to pass through.

This is the nature of sand.

Can't force it.

Gu Weijing gradually captured the spirit of the painting. He felt that this characteristic was very interesting, similar to a kind of oil paint that tests one's pen-holding ability extremely well.

In ancient times, yamen runners practiced beating with boards.

It is said that you can put tofu under a layer of cloth and beat it, making loud slapping sounds without even damaging the tofu. You can also beat it without making any sound, and when you lift the cloth, the tofu will have been broken into pieces like mud.

When Gu Weijing used his brush, he controlled the feeling of the sand being scattered and not scattered, which is quite similar to this.

It's a little bit like the feeling when he uses a hard oil painting knife to press the paint when painting with a knife, but it is more delicate and has more changes.

Gu Weijing thought for a while.

He simply threw the branch aside.

Gu Weijing simply tried to use his fingers as a pen, smearing the shape of palm leaves on the sand.

Use your fingers to push away the fine sand.

The tentacles are delicate and warm.

really.

The effect changes immediately, and the entire line is much freer than when painting with branches.

(End of this chapter)