Reborn as a great painter, with a system, you can be willful

Jiang Zhe used a large squirrel hair watercolor brush, dipped it in paint, and decisively began to render on the paper. As the brush moved, the paint gradually spread on the painting, and the ultramarine and raw umber came into contact, forming a mixed effect at their respective edges.

He painted very quickly, occasionally pausing to compare the sketch with the watercolor draft in front of him, and continuing to paint when he was satisfied.

Around the easel were four detailed sketches.

These are created for custom drafts.

Jiang Zhe selected four satisfactory drafts from a large number of drafts and made in-depth descriptions. The composition and scene narrative arrangement of these four works are completely different. Each one has its advantages and disadvantages.

He planned to paint the four drafts into watercolors, and while solving the color relationship, he would try to make up for the shortcomings and even discover more highlights.

Although he has been studying Rembrandt's paintings recently and is even a little obsessed with dramatic beauty and special texture effects, he does not rely entirely on past experience when creating, and will try to get rid of various constraints.

After all, from Rembrandt's time to today, painting has undergone a lot of development, especially after the baptism of Impressionism, Post-Impressionism and Modernist painting, people's understanding of painting has changed a lot.

Jiang Zhe wanted to express his own understanding in this custom work, rather than copying the master's paintings.

Therefore, when he portrayed characters, he used the plastic aesthetics of classical painting, and when he rendered scenes and light and shadow, he used contemporary people's perception of color.

Although several scenes were set indoors, he still used the effects of outdoor light, striving to make the colors rich and vivid while also enriching the shape.

This attempt had already begun in his previous works, and he encountered new challenges in the new subject.

Whenever he encountered difficulties, Jiang Zhe would go to observe the works of masters, including works of different styles. He would also invite models to the studio, pose in the scenes he was creating, and look for certain inspiration.

Using several methods in turn makes the creation progress quickly...

After Wang Zhen got off the plane, he went to the gallery to handle some things first, and then rushed to Jiang Zhe's villa without stopping.

As soon as the car stopped, she saw Jiang Zhe waiting for her at the door of the villa.

Jiang Zhe led Wang Zhen into the courtyard of the villa. "You got off the plane and came to me without taking a rest."

Wang Zhen responded: "I don't have that much rest time. You accepted Miller's order, which is a big deal. I have to take a look before I can rest assured."

As she walked, she looked at Jiang Zhe's face and asked, "I haven't seen you for a while. You seem to have become whiter."

Jiang Zhe said: "I haven't been sketching outdoors recently. I either go to school, leave early and come back late, or stay in the studio all day."

"How's your painting going?"

Jiang Zhe said: "I have already finished the sketch and watercolor draft. You came at the right time, please help me find out if there is any problem.

"Let's go straight to the studio."

The two of them are very familiar with each other, so Jiang Zhe doesn't need to be polite.

When he arrived at the studio, he took out the snacks and fruits that he had prepared.

Wang Zhen said thank you and looked at the painting.

She already knew Jiang Zhe's painting habits and could tell at a glance which were Jiang Zhe's most recent works.

First, I saw several sketches and watercolors placed around the easel. It was obvious that there was one sketch for each watercolor.

In addition, she also saw several works hanging on the wall, all of which were copies of Rembrandt's paintings. These examples were all well-known works, and Jiang Zhe's copies were very similar and could be recognized at a glance.

Wang Zhen looked at it and said, "You said on the phone that you were studying Rembrandt's paintings recently. There are masterpieces among his group portraits, but there are also some that ruined his reputation, such as The Night Watch. This painting made art dealers unwilling to buy his paintings later. You must not make this mistake."

Jiang Zhe pointed at a few manuscripts and said, "I understand. Read them first, and then we can discuss it."

Wang Zhen walked to a suitable distance and began to observe. The first group of drafts (sketches and watercolors) depicted an indoor scene, with more than a dozen people divided into two tables. One table was playing cards, and the other table was chatting.

Most of them were unknown, probably club members. One person was standing and talking, and the others were listening. This person was Miller, whom she knew. Jiang Zhe's drawing was extremely accurate, and she could recognize him at a glance.

The background is a Mi-style interior scene. There are wine, food and other items on the table.

The second group is still an outdoor scene. It is a club gathering under the shade of trees on the grass. In the painting, some people have already taken their seats, and some are walking over. The faces of each person are cleverly shown. Miller is still in the main position. The colors of this painting are close to Impressionist paintings.

The third group of drafts chose to depict part of the party scene, while the other part of the people appeared in the mirror behind Miller. This scene arrangement is very bold.

The fourth group of drafts still depicts an indoor party scene, but with a huge French window in the picture. The audience can see the outdoor scenery through the window. The sunlight shines into the room through the window, making the color change rich.

After Wang Zhen finished reading all the manuscripts, he sat down next to Jiang Zhe.
All four sets of paintings are good, I prefer the fourth set to the first.

The second and third outdoor scenes are too bold, and I don’t know if Miller would have liked them. In addition, the effect of watercolor is different from that of oil painting.

What do you think?

Jiang Zhe said: "These four groups of manuscripts are observed from different angles, and it is difficult to be perfect."

Wang Zhen suggested: "What do you think about sending the manuscript directly to Miller and letting him choose it himself? Although this will make you somewhat passive, it is safer to do so."

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Jiang Zhe thought about it for a moment and agreed to the suggestion.

The two took photos of the manuscript and sent them to Miller via email. Jiang Zhe called Miller again, but the call didn't go through, so he had to leave a message via text message.

Jiang Zhe and Wang Zhen sat down again.

"Let him make the choice. Please help me see if there are any flaws in these paintings."

Wang Zhen expressed his true opinion based on his own perception, then pointed to the Night Watch copied by Jiang Zhe in a sketch and said, "Based on the existing information, this painting is a misjudgment of Rembrandt?"

"What misjudgment?"

“He wanted to surpass his past self. In addition, he thought that if his painting skills were high, he would be recognized. As long as he portrayed the most important people in the painting well, it would be fine.

Yes, he was sued by the group members who also paid the money, and he was disgraced and lived a poor life ever since. "

Jiang Zhe nodded. This statement was recognized by many people.

Wang Zhen continued: "I run a gallery business, so I have to deal with clients and contact painters. I found that many painters do not understand the psychological needs and cognitive level of their clients.

Clients usually tell the painters they work with that they want a high-level or unique work, or a work of art that they have never seen before. But usually, the understanding between the two parties is very different.

According to my research, most clients can only accept works that meet their psychological needs and are in line with their cognitive level. In this case, they can also accept a slight breakthrough, just like that. "

Wang Zhen pointed to Jiang Zhe’s copying practice: “If it’s like Dr. Durr’s anatomy class, customers will like it.

There is light on everyone's face, it is very clear, and the arrangement and combination of characters are somewhat different from the common group portraits.

As for Rembrandt, he really wanted to break through his previous self and paint a work of art that no one had ever seen.

Unfortunately, there were many painters in that era who could complete group portraits, so Rembrandt's later years were miserable."

Jiang Zhe said, "I understand what you mean. Can't take big steps?"

Wang Zhen nodded.

Jiang Zhe said: "Fortunately, this time the order was funded by Miller alone. As long as he is satisfied, that's fine." (End of this chapter)