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

Jacques and Jiang Zhe walked into another exhibition hall and saw a work by Van Gogh.

“Seeing the works of the Post-Impressionists shows that the group of young Impressionist painters have grown into masters and famous painters.

Young painters who were eager to become famous thought about how to surpass them all day long, just like the Impressionists breaking the shackles of the academic school. "

Jiang Zhe said: "I remember that it was the pointillist painters who first challenged. In just a few decades, so many outstanding painters have emerged."

Jacques slowed down in front of Lautrec's work: "With the continuous emergence of young painters, the influence of Impressionism began to fade. I think that in addition to the three post-Impressionist painters, there is another important person - Lautrec. I have imitated his works."

After looking at the works of the Post-Impressionist painters, the two were ready to call it a day.

On the way to the exit, Jacques looked back and said to Jiang Zhe: "The Orsay collection includes works of academic, Barbizon, realism, impressionism, and post-impressionism, covering almost all the heavyweight works of France in the second half of the 19th century.

If we distinguish them in terms of time, the collections of the Orsay Museum can be connected to the Louvre Museum, and the successor of the Orsay Museum is the Pompidou Center. If you like, you can go there to have a look. "

Jiang Zhe said: "It is a great thing to be able to connect hundreds of years of art without interruption. Looking around the world, few countries can do it."

Jacques asked, "What do you think of visiting Orsay?"

Jiang Zhe said: "In every period, there are always geniuses who open up new paths, and subsequent innovations will emerge like a blowout. The Renaissance, Impressionism and modern new art trends all seem to have come from this."

Jacques said: "What I want to tell you is that I am not sure whether you and I are geniuses who can open up new horizons. But it is difficult to find your own way by learning some outdated academic things at this time. Of course, this is just my opinion. I am not against gaining experience from predecessors. But don't be bound by it."

Jiang Zhe felt Jacques's sincerity and immediately expressed his gratitude. Regardless of whether he agreed or not, it was precious that the other party was willing to say thank you to him.

On the way back, Jiang Zhe saw Rodin's work again - it was said to be an unfinished work, and the entire sculpture only had the woman's head.

He had recently acquired the skill of sculpture and had developed an interest in it, so he asked Jacques to take a photo of him with the sculpture.

After Jacques took his picture, he asked, "Do you like this sculpture?"

Jiang Zhe replied: "This sculpture makes people think about it, just like seeing the Venus de Milo, and thinking about what the two broken arms looked like in the past.

The woman's head makes me think about what it might look like in the future. One is about the past, the other is about the future."

"What do you think it should be like?" Jacques continued.

Jiang Zhe looked at the sculpture and replied, "I have an urge to break the stone and release the woman."

Jacques said: "This is the urge to create. Do you want to try to make a sculpture, whether to continue to complete it or to make a new one, no matter what, just try it.

I have some sculpture tools and materials there. I can lend them to you.”

"Is it okay? Will it affect you?" Jiang Zhe was a little tempted.

"No, I just do it when I think of it." Jacques was very straightforward.

Jiang Zhe also adapted to Jacques' way of doing things, and without too much courtesy, he followed Jacques to the studio.

Jacques' assistant, helping to prepare tools and materials.

The sculpture workshop is a semi-basement.

Jiang Zhe selected the turntable for making sculptures, and then went on to choose other tools.

He had taken sculpture and ceramics as electives and had acquired a variety of sculpture techniques from the system, so he wasn’t worried at all.

Seeing Jiang Zhe selecting tools, Jacques asked, "What are you going to do?"

Jiang Zhe said, "Make a portrait of a woman."

"Do you need a model?"

Jiang Zhe hesitated.

Jacques said: "Models can be used as references and may give you some inspiration. I have several models with whom I have long-term cooperation." He took out a few photos and showed them to Jiang Zhe.

Jiang Zhe thought for a while, pointed to a photo and said, "Choose her. I'll pay." "Don't worry about these things. I've seen your paintings and I want to see your sculptures," said Jacques.

"Thank you so much."

Jacques said, "I have a suggestion. Regardless of your success or failure in this first attempt, can you leave your work with me?"

"Okay, but I can't guarantee that it will succeed." Jiang Zhe agreed readily.

When he was preparing the tools and clay, he had already considered making a life-size bust or full-length portrait.

Due to time constraints, I can only use sculpting clay.

He set up a simple wooden frame on the turntable and then quickly piled up the mud.

At this time, Jacques' assistant led a long-haired woman in.

This woman is Jacques's model.

After Jacques introduced the two, the model asked Kang Chul what he wanted.

She understood the request, took off her clothes very naturally, and sat on the chair as Jiang Zhe suggested.

Jiang Zhe asked the model to pose in different postures before finally choosing one.

Of course, this is just a reference.

He had no intention of actually finishing Rodin's half-finished work.

The woman in Rodin's sculpture has her head tilted forward, and seems to be in deep thought, or perhaps sad.

Jiang Zhe's initial plan was to have the woman rest her chin on her folded hands, with her hands on her bent knees, as if she were curled up in a chair.

After he piled up a large piece of clay, he began to carve the entire block with a sculpting knife.

After finishing the division of the large blocks, Jiang Zhe looked at the time and found that it was already evening.

"Sorry, I was so into what I was doing that I lost track of time."

"It's okay, you've let us appreciate your wonderful creation. Stay here for dinner today. You can choose to continue today or tomorrow," said Jacques.

Jiang Zhe thought for a moment and said, "I won't bother you tonight. Come back tomorrow."

"Yes, but my assistant has prepared dinner. You can try the fried quail and baked snails, and there will be champagne."

"Thank you." Jiang Zhe was really hungry and didn't want to be too polite.

After the dinner, we agreed to come back tomorrow to complete the sculpture.

That night, Jiang Zhe spoke to his family and Professor Qin and told them about his experience.

After hearing this, Professor Qin suggested that Jiang Zhe consider applying to other schools.

Jiang Zhe has been able to take this matter lightly and doesn't take it to heart whether he succeeds or not.

The next morning, he came to Ya Ke's studio again and found a new lady, Chloe, the French business manager of Christie's auction house.

"Ms. Chloe, it's nice to see you again." Jiang Zhe greeted the other party and shook hands.

"I'm here to see Jacques' new work. I heard you made a sculpture here. Can I stay and watch?" Chloe asked.

Jiang Zhe replied: "You are most welcome, and I hope you can give me some advice."

(End of this chapter)