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

cafes.

George invited Jiang Zhe, who responded with a double meaning.

Professor Kerry did not continue the topic, but talked about American art. During the conversation, he also asked Jiang Zhe what American painting schools he had learned about.

Jiang Zhe talked about his experience of studying the works of the Hudson School and American Impressionist painters.

"There are many other schools of painting in the United States. Although their influence is not as great as that of French Impressionism and Post-Impressionism, they are of great historical significance to American culture. For example, the Boston School, the Tonalism Movement, and several modernist art schools."

When Jiang Zhe heard these art terms, he was unable to react for a moment. He calmly reviewed his study of American paintings, and thought of several painters. Only then did he match some paintings and specific characters with these terms.

Although he already had some knowledge of these art schools, he still said that he did not know much about these painting trends and humbly asked the two professors for advice. He said this to avoid talking about the previous topic.

The two professors have different research directions, but when it comes to local art, they are both very knowledgeable.

In order to influence Jiang Zhe's judgment, we also hope to show him the charm of our country's culture.

They started their conversation by talking about the Boston School of Painting from the late 19th and early 20th centuries.

This school is one of the important schools in the history of American art, and its representative painters are also the pioneers of American Impressionism.

"With the advancement of the Industrial Revolution, transatlantic trade activities led to a large number of European artworks flowing into the United States, promoting the flow of culture. Under the combined effect of many factors, American society at that time had a widespread admiration for European culture. This tendency has affected many aspects of the United States. In addition, in the late 19th century, the rapid industrialization and urbanization process in the United States led to large-scale population migration and an increasingly diverse social structure. Ideological changes such as populism, progressivism, and the New Deal jointly defined an era full of turmoil and transformation, which in turn triggered discussions in academia about national identity and cultural integration. Therefore, the development of American painting at the turn of the 19th and 20th centuries, especially the transition from the Hudson River School to the Tonalism School, is a critical period in the history of American art.

The development of American painting during this period laid the foundation for the rise of modern painting in the 20th century.

George Innes grew up with the second generation of Hudson River School painters, and initiated and led the American Tonalism movement. "

While Professor Kerry was drinking coffee, Jiang Zhe took advantage of the pause to frankly express that he had no idea about tonalism.

George took over the topic. "From the 20s to the 20s, with the advancement of industrialization, Precisionism became the first native modernist art movement in the United States.

Artists have keenly discovered and categorized the unique urban landscape of American life in the 20th century, but the formation of this process has rarely been explored in depth.

Precisionist artists have a special liking for skyscrapers, which is not only a subjective choice of the artists, but also reflects the relationship between the European and American cultural traditions, which are either continuous, independent, or overlapping, in the process of the United States growing into a modern power after World War I. "

Jiang Zhe listened and thought, the choice of skyscrapers by precisionists may be the observation and thinking of the painters at that time about their own living environment. Does this have something in common with his own creative thinking?
“After the end of World War I, the great leap in American productivity prompted the United States to seek and shape its national identity. Precisionism is a cultural evidence of this process, witnessing the encounter between modern art traditions and new technologies and new things.

The precisionist artistic style is both a determined cultural heritage and the result of active exploration. These passive or active explorations allow modern feelings to be concretized in the paintings, showing a distinct cultural identity. ”

The contact between European artistic tradition and the United States has run through different periods of the development of modern American art.

After the Hudson River School, Precisionist art inherited and continued the effective interaction between the two, highlighting local icons and further beginning to transcend the symbolic dimension of real materials. Under the conceptual consciousness of the industrial age, it gave rise to the cognition of abstract language.

These schools of thought provided many inspirations and possibilities for the prevalence of abstract expressionism in the United States and the subsequent internal development of American modern art. Kerry and George echoed each other, indicating that Jiang Zhe's understanding of this information would have some inspiration for his development.

Jiang Zhe has his own understanding of the phenomena and results of these artistic discoveries. Of course, he will not argue at this time.

This conversation ended in a pleasant and relaxed atmosphere. Jiang Zhe said that he would prepare to return home. He said goodbye to Kerry and George and wished him a safe journey. He said that they wanted to stay here for a while.

Watching Jiang Zhe leave with his backpack, Kerry and George returned to their seats and ordered another cup of coffee each.

"Do you think he will accept the invitation?" Kerry asked as he added sugar to his coffee and stirred it with a spoon.

George didn't add too much sugar to his coffee. He liked the taste of bitter coffee. "If he was a rational person who had a plan for his future, he would accept the invitation. If there were rational people around him, they would also persuade him to accept the invitation. After all, we offered the best conditions.

If he can learn something here, his future will be limitless. This is the best platform for him.”

"After thinking about it, the reasons you gave don't seem to be enough to explain why you did these things," asked Professor Kerry.

George said: "You should have seen many people who fought hard in the New York Vanity Fair until the last moment of their lives. Especially those who are 80, 90 or even over years old, they are still working hard. Why do you think they are doing it?"

Professor Kerry said: "I remember that we discussed this issue before. They were afraid of being forgotten."

George said: "I am also afraid of being forgotten. Although you and I have written a lot of things, these things may be forgotten in a short time."

Kerry nodded: "It can't be helped. It doesn't seem to matter that way."

George smiled. "We have all seen some stellar figures in the history of art. Their stories will be passed down from generation to generation. Their brilliance will hardly be drowned by time. Even the people around them will be remembered by people because they are influenced by their brilliance."

Kerry looked at George suspiciously. "People like this are rare, and I don't think Jiang Zhe is such a person."

George said: "Maybe in the future, you and I will be remembered because of Jiang Zhe."

"I think you may have seen it wrong." Kerry insisted on his opinion.

"Let's wait and see." George picked up a small butter biscuit and put it in his mouth, chewing it with a crunching sound.

……

Jiang Zhe dealt with his affairs in New York and boarded the flight back home without wasting any time.

After the flight stabilized, Jiang Zhe began to flip through a palm-sized English book. This was a book that recorded the history of American art. There were not many pictures, but more textual discussions.

During his conversation with Kerry and George, he heard them talk about this book.

Before boarding the plane, he bought some books.

The conversation with the two professors made him interested in some knowledge.

These American art schools were not in his previous study plan. When he heard relevant information by chance, he took the opportunity to enrich his knowledge.

There was no conversation along the way and we returned to the capital smoothly.

At the Capital Airport, he met Wang Zhen.

Wang Zhen listened to Jiang Zhe's description of the trip and gave his own advice. "It seems that the two professors at Columbia University are very optimistic about you. If your application is approved, I suggest you go to Columbia University."

"What's the reason?" Jiang Zhe asked.

"I told you before that there is the largest market there today. You can build your own network there and slowly cultivate your own audience. This is more important for your future development." Wang Zhen's meaning was very clear.

Jiang Zhe understood that Wang Zhen was considering it from the perspective of the market, and he was not wrong.

He said he would consider it carefully.

After returning to Binhai, Jiang Zhe reported his experience to his parents.

Jiang Yi and his wife also suggested that he go to study in the United States.

"Reason, what other reason do you need?" Xu Li said, "Those people we know who want to go abroad first consider going to the United States."

"The United States is the most powerful country today. It has a large number of talented people. It shouldn't be bad to study there." Jiang Yi said: "Although European art is very strong, it is a thing of the past after all."

The advice given by both parents has its own reasons.

Jiang Zhe could not explain what would happen in the future, and it was even more impossible for him to explain to them that those who went to the United States would not necessarily get good results.

As time goes by, when the filter and halo of the concept of going to the United States fade away, many people will realize that some people have gone to the United States and are also miserable.

On the day he returned to Binhai, Jiang Zhe did not rush to report to school.

He planned to stay in the villa, not go anywhere, and give himself a day off.

Chen Yan came to the villa and spent a relaxing and enjoyable night with Jiang Zhe.

The next day, Jiang Zhe came to school to report for leave.

During the leave process, the teacher from the Student Affairs Office and Teacher Hu asked him about the results of his re-examination.

Jiang Zhe could only answer and wait for further notice.

Teacher Hu comforted him and waited patiently.

Professor Qin invited Jiang Zhe to his office and learned the details.

After hearing Jiang Zhe's retelling of his conversation with the two professors, Professor Qin cleverly changed the topic to American art in order to make Jiang Zhe no longer worry about the outcome.

Jiang Zhe also brought a few books he brought back.

Professor Qin flipped through the album and casually expressed his feelings about the works.

"The works of the Boston School's representatives show the absorption and integration of Chinese culture. These works often depict elegant and luxurious interior scenes, women wearing Chinese costumes, and household items with oriental decorative styles."

Professor Qin saw Edmund Charles Tarbell's work "Solitaire".

After studying it for a while, he continued, "I've seen this painting in other albums. The one you bought has a clearer print."

Jiang Zhe, who has already carefully analyzed the painting, expressed his opinion: "This is a scene of the painter's daughter Mary and her mother sitting in a room playing a card game. The light through the window illuminates Mary's cheek and right shoulder, making her red dress particularly eye-catching. This dress is in typical Qing Dynasty style, with delicate embroidery on the neckline, sleeves and lapels."

In this album, there is also Joseph De Camp's "Portrait of Miss Pearson". The painter's reflection of the golden Ruyi cloud shoulder and cuffs vividly and delicately shows the luxurious fabrics and exquisite workmanship. Similar clothing also appears in the work "Red Kimono". The translation of this painting is wrong. "

Professor Qin found these two works.

After reading it, he said: "It's not a wrong translation. The white Ruyi embroidered cloud shoulders, large collar, right lapel and rolled sleeves on the character's clothing are typical features of Chinese clothing. The painter named the work "Kimono", which is a misunderstanding of Qing Dynasty clothing.

This misunderstanding just shows that European artists and designers have borrowed from our country's traditional art and culture, but they may not necessarily understand its historical and cultural significance.

In American society at that time, Chinese clothing was favored by the wealthy class for its unique silhouette, exquisite embroidery and luxurious fabrics. The Boston School painters incorporated elegant women wearing Chinese clothing into life scenes, which was a reflection of the American cultural fashion at that time.

The two started a discussion on this topic.

“On the surface, these elements reflect the American upper class’s fascination with Chinese clothing, but a deeper look into the background behind the works reveals that the Boston School artists, who have an academic identity, are deeply influenced by the ‘elegant tradition’.

Through the use of Chinese costumes, they created an aesthetic paradigm different from European impressionism and realism.

"The Boston School of Painting was born in a complex historical context. American society from the late 19th century to the early 20th century was being reshaped by a series of major changes. The development of the United States has gone through a process from recognizing European colonization and shaping its own nationalization to expressing its own internationalization..." Jiang Zhe selected some of the views of Kerry and George during the discussion.

Although he did not agree with all the views of the two professors, he felt that some parts of the conversation were useful.

Professor Qin discovered that Jiang Zhe had gained some new insights from his trip abroad, so he planned to find another time to discuss his choice of postgraduate studies.

Of course, before Jiang Zhe received the notice, Professor Qin only suggested that he focus his energy on his graduation project.

Jiang Zhe understood that for now he could only wait for the results of the postgraduate entrance examination, and there was no point in thinking too much.

He resumed his creative rhythm of life.

In the stressful and busy study life, students of Binhai Academy of the Arts have received good news one after another.

"Congratulations, you have signed the contract and now have a destination. Complete your graduation project and thesis with peace of mind." Teacher Hu received several students in his office who came to report the good news.

One person was admitted to a game company, and the other two performed very well in the postgraduate entrance examination.

At the same time, Jiang Zhe received the long-awaited notice.

(End of this chapter)