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

Jiang Zhe carried his luggage and walked into the exquisitely decorated train carriage with Francesca, looking for seats.

After visiting St. Peter's Basilica, he did not continue to travel in Rome, but took a train directly to Florence.

I found my seat and discovered that the train was not fully occupied. Two people could occupy four seats, which was very spacious.

Jiang Zhe bought coffee and snacks and enjoyed them with Francesca to pass the time while waiting for the train to start.

Feeling the train slowly start to move, Jiang Zhe stopped talking and looked out the window.

The journey from Rome to Florence is less than two hours. The train is not very fast, which is perfect for viewing the scenery.

The scenery outside the window changed, and rural scenery appeared.

Jiang Zhe thought that these scenes could be painted, so he took out painting supplies from his suitcase.

Francesca saw what Jiang Zhe was doing and asked, "Can I watch from your side?"

Jiang Zhe said, "I don't mind. But if you get too close, you might get splashed with paint."

"It's okay." Francesca made some space on the small dining table in front of them and placed some painting supplies for Jiang Zhe.

Then, by sitting next to Jiang Zhe, you can see the painting process while keeping a certain distance so you don’t have to worry about being splashed with paint.

She saw some works in the watercolor and sketchbooks that Jiang Zhe had opened. These books were clearly bought yesterday.

“When did you draw this?”

As Jiang Zhe prepared the materials, he said, "I drew some last night after returning to my room."

"can I see?"

"Okay." Jiang Zhe handed the stack of finished watercolors and sketches to Francesca and started painting on his own.

Francesca took the stack of works in her hands and immediately estimated that there were at least a dozen works in her hands, including simple sketches and watercolor drafts.

Start appreciating it from the first draft.

This is the scene they saw while queuing.

The second painting depicts a corner of the Vatican Museum's exhibition hall displaying sculptures.

Most of the drawings depict moments during the visit. Some are very detailed, while others look sloppy. But if you look closely, you will find that each drawing shows the visitor's perspective, and a few strokes in the drawings can vividly depict some classic works.

Seeing that Jiang Zhe had already started painting, she didn't want to disturb him and could only suppress the doubts in her heart.

I remember that Jiang Zhe took a lot of photos yesterday, but many of the contents in the manuscript were not photographed. It was more like Jiang Zhe remembered them in his mind and reproduced them after returning.

How did he remember so many things? He was able to use simple strokes to express rich content.

When people see the painting, it brings back some fragments of their memories.

Francesca read the manuscript a second time with doubts and made new discoveries. The more she read, the more interesting it became.

Finally, two sketches and a detailed watercolor draft were selected from the paintings.

Jiang Zhe drew a picture of the scenery outside the window, and then a watercolor draft of the scene inside the carriage, then put down his brush and took a short break. He looked at Francesca and said, "From your professional perspective, help me find the problem with the draft."

Francesca replied, “These are excellent manuscripts, I can’t find any fault with them. I don’t know how you remember so much.

This one, and this one, I don’t understand.”

She pointed at the sketches and asked, "Most of your sketches have wonderful descriptions, and you can see the characteristics of certain images, but these two seem to be too sloppy. I can only see that they seem to be imitating Michelangelo's sculptures." Jiang Zhe said, "Your judgment is accurate.

I looked at the sculpture and tried to recreate it in draft.

The angle of painting is fixed, but sculpture needs to show 360-degree shape.

So, in this draft, I tried to use the technique of sculpture to express it, drawing the image from different angles as much as possible, and only drawing the outline. "

Francesca suddenly realized: "I see. Dealing with the outline of each image is like walking around a sculpture.

"Well, what about this one?" She pointed to the watercolor and asked, "I can see that the two figures you painted are Michelangelo and Raphael."

Jiang Zhe laughed. After laughing, he said, "This is a picture of two masters arguing about the restoration of Laocoön."

“Did you really try to represent this scene?” Francesca asked. “On the right side of the picture is Michelangelo, and across from him is Raphael in gorgeous costumes.”

Jiang Zhe nodded.

In this painting, Raphael shows most of his face, with part of his face in shadow.

Both of these masters have portraits handed down from generation to generation, so we just need to remember them and portray them.

He put some thought into arranging the contents of the painting. For example, in order to highlight the images of the two great artists, he hid the sponsor, the Pope at the time, behind Raphael. The audience can only see the throne, the hat, part of the clothes, and a drawing held by the Pope.

"The Pope is looking at the drawings that Raphael brought out, right?" Francesca said.

Seeing Jiang Zhe agree, she continued: "The faces of the people behind the Pope are blurred. Some are wearing clergy clothes, while others are wearing the clothes of Raphael's apprentices. The most interesting thing about this painting is that Michelangelo has a disdainful look on his face.

Many artists have painted this subject, but yours is more interesting, with a sense of being there, as if this is how it should be, especially their expressions. Have you studied the costumes of the time?"

Jiang Zhe said: "I have read some relevant information. In addition to the clergy's clothing, I used several Renaissance men's clothing in the manuscript, as well as the hats and hairstyles that were popular at the time. In fact, these were taken from the information, I don't know if they are correct. Including the daggers these people wear."

Francesca listened to Jiang Zhe's introduction and admired the painting, and suddenly an idea came to her mind.

If the Vatican Museum is willing to collect Jiang Zhe's painting, and if I can participate in or even promote this matter, it will greatly improve both Jiang Zhe and my career.

Thinking of this, she even began to consider how to promote this matter, and the more she thought about it, the more she couldn't contain her excitement.

However, you should still ask the author's opinion on this matter first.

After Jiang Zhe finished his introduction, she asked tentatively, "Have you ever thought about turning the manuscript into a formal work?"

Jiang Zhe said: "With this idea, I will sort out the gains from this trip."

Francesca said: "I am looking forward to it. If, I mean if, there is a museum willing to collect this work, such as the Vatican Museum, would you agree?"

Jiang Zhe didn't care: "If you can create a satisfactory work, I don't mind donating it."

Francesca took this to heart.

The rest of the journey was still relaxing and enjoyable.

Before we knew it, the train arrived in Florence.

The two of them settled down at the hotel.

Jiang Zhe made some preparations and rushed to the destination of this trip, the Florence Academy of Fine Arts, with Francesca. (End of this chapter)