It’s not about winning awards.
But the gold medal for first place.
The gap between level six and level seven on the system panel is just like the gap between semi-professional and professional painters. It is a world of difference.
A work that reaches the level of a master.
Even at the Singapore Biennale in the past, we often had to wait several years for one to appear.
With this painting, one of Teacher Vattle’s wishes has been fulfilled.
In fact.
This painting was completed much faster than expected.
When the skill is actually used, it is smoother than he expected, and the painting is smoother and smoother.
So much so that when Gu Weijing’s brush strokes followed the waves and the curves of the bridge, from still water to waves, he used a wet brush to finish the last ripples of color that needed to be softened around the museum.
There is still nearly half the skill time left.
He looked at the prompt of task progress 1 on the system panel, and for a moment he felt impulsive and wanted to paint all the semi-finished products hung on the wall by Professor Wattel.
Consider it for a moment.
Gu Weijing gave up the idea.
No need.
As long as you use skills, it is almost easy to complete the "color improvement" level of polishing.
No rush.
Gu Weijing made a judgment.
This task of the system is more about training his grasp of the overall atmosphere of the work.
Gradually realize the essence of other people's works, and then slowly find the finishing touch and the secret of making flowers come true.
Think and understand while painting.
Techniques are not difficult, but thinking is often very difficult.
Gu Weijing has been looking at the same watercolor paintings hung on the wall by Professor Wattel every day these days.
There are finished paintings and unfinished paintings everywhere on the wall.
One afternoon in the studio.
I am so tired of watching it that I am already numb.
Gu Weijing is as familiar with the realistic landscape paintings of Museum Island as the publicity posters on the bus stops or toilet walls that he passes by the school gate every day.
Become part of his work environment.
I don’t even think that it is a piece of art anymore.
He did not mean to insult Vettel.
Most people’s works are like many internet celebrity girls on short videos.
It’s easy to make people’s eyes shine, or to shock you when you brush past.
It is really not easy for you to spend two or three hours every day facing her and still feel extraordinarily beautiful and charming.
The requirements are very high for both the level of the painting itself and the art appreciation ability of the audience.
Not to mention watching it every day.
Study tours to London, Paris, Florence and other places organized by Dulwich College during spring and autumn holidays.
The teacher leads the teamAfter entering the art museum, there will always be students who get bored after watching it for five minutes and sneak to the nearby coffee shop to order an espresso and play sitch.
This is still an art student.
Any work that can be viewed often, always new, and overcome time can be called the highest praise of greatness and excellence.
The most typical example is Han Gan's famous ink line horse picture in the Metropolis.
From Tang Xuanzong to Li Yu, then to Mi Fu, Song Huizong, Jia Sidao, and Yuan Dynasty Jietun, the Qing Dynasty seal madman Qianlong Emperor Hongli has experienced the toy of celebrities of all dynasties for thousands of years. Appreciation and evaluation.
The painting itself is just that little bit.
Next to it are various continuations, supplements, and continued prompts, poems, comments, and seals, and a large volume that is several meters long.
Those who don’t know better think that this is a calligraphy work, and the small painting next to it is included.
People in the Tang Dynasty loved its painting colors, people in the Song Dynasty loved its hair and bones, people in the Ming Dynasty liked its divine meaning, and people in the Qing Dynasty returned to appreciating the technique itself.
This is a work that has been scrutinized by the top collectors for a thousand years.
Theoretically, all the places where food can be played have been eaten up and wiped clean.
Until the end of the 19th century.
Western art fields have more scientific and systematic theories of focus transformation and perspective painting, while Chinese painting has developed on another artistic path.
It has the essence of the modern painting method that "emphasizes concept and spirit".
Theoretically, realism is the strength of oil painting and watercolor, and this is also true.
But when it comes to painting horses, realist painters have had a very famous debate since the Renaissance: When a horse runs, its legs will not touch the ground.
When painting trees It is difficult to draw a willow, and it is difficult to draw a horse.
Objects in motion are the most difficult to express.
The reaction ability of the human eye cannot capture the accurate movement of the legs of a horse running at a high speed of up to 60 kilometers per hour, just like you cannot see clearly the hub of a moving wheel.
The mainstream view has always been that.
No matter what moment or movement situation, the horse's special bone structure determines that one hoof will always touch the ground.
So when you go to an art gallery and appreciate the standard early oil paintings of animals, they almost always show either a front hoof or a back hoof, with one hoof always falling on the ground.
However, riders who have more contact with horses often express this to the painter.
They didn’t know why, but they always felt that the horses on the scroll were unnatural and looked strange.
Some painters began to raise the possibility of a horse having all four hooves suspended in the air for a few tenths of a second.
This was considered an impossible fallacy for a long time. .
In order to figure out this problem, artists have been struggling for more than a century, and even offered rewards in newspapers.
It wasn't until 1872 that Leland Stanford, the governor of California and the wealthy founder of Stanford University, hired a high-speed photographer to complete this study. Through the footage taken by 16 consecutive cameras in half a second, he captured the final moments of a horse running. Exact form.
This is a landmark node in the history of film. 16 photos are played from beginning to end, becoming the first moving lens in human history.
It also brings an end to this century-long artistic debate
Yes, horses will have their legs dangling in the air when they run.
At this time, scholars once again looked at the famous paintings of horses in world history, and were surprised to find that Han Gan's horses were painted in this way.
Literary and art critics in the past dynasties have commented on Han Gan's horses. They often say that his paintings are divine and have the feeling of soaring in the clouds and mists. Now they have discovered it after re-researching.
That’s not flying in the clouds, that’s what a horse really looks like when it’s running.
He is also the first painter to paint the horse's running "right" among all the existing Eastern and Western galloping horse paintings in the world so far.
Five dynasties have passed since the painter who once said to Emperor Xuanzong of the Tang Dynasty that he "doesn't want to take people as his teacher, but only wants to take horses as his teacher." , ten centuries.
A whole thousand years.
Han Gan’s horses, Caravaggio’s mirrors, and the lake light in Isaac Levitan’s paintings can all be looked at for a hundred or two hundred years, or even a thousand years, and they will still feel mysterious and Zen. It’s full of flavor, and you can continue to play with and polish the works you’ll never tire of.
They transcend time.
But it is unfair to compare this kind of museum-level work with Mr. Wattel.
It is unfair to Han Gan and even more unfair to Vettel.
Don’t say it’s Walter.
Gu Weijing was creating the painting of the Good Luck Orphanage in the Sun. He knew very well that his best hope was to impress the judges of the organizing committee.
Let their eyes light up and their hearts move.
Offsite, Mashi Gallery paid someone to write two soft articles to turn his back.
Finally, award yourself a newcomer award.
He is extremely contented
Currently, his fusion paintings still focus on the word "new" and the word "odd".
If it is hung in an exhibition for two or three months and promoted twice, it will no longer be new.
The kind that can become a pillar of a large art museum, whether the exhibition lasts for one month, two months, ten years, twenty years, or hundreds of years.
It will always attract countless audiences, make art judges scratch their heads, and make art students from all over the world line up to hold drawing boards to copy masterpieces.
This is far from a question that a second-level professional painter should consider.
He specializes in knife painting, a niche art of skill painting.
Or CarolMs. Gu Weijing copied over ten or twenty pictures of Ms. Gu Weijing's painting. The more she painted it, the more delicate and lovely the technique became. The unfathomable old church on a thunderstorm day only had about two or three meanings.
In particular, Wattel is engaged in photorealism.
Compared with the freehand brushwork of ink and the impressionism of oil painting, realism pays more attention to solid structure and rational brushwork. It can be regarded as a "science student" in the field of art, pursuing the same precision as mathematics.
The painting is very solid.
However, the rational mathematician-style brushwork is not elegant and divergent enough, resulting in it becoming rigid, leaving Gu Weijing without a shocking sense of beauty.
Don’t get it wrong.
It’s not that mathematicians are bad at using pens.
From form to thought, mathematics is the most beautiful art in the world, exquisite and grand.
It uses formulas one by one and infinitely expanded digital boundary editing to structure the entire world, just like a painter using a brush to outline all natural phenomena.
Euler believed that accurate mathematical laws must be quite beautiful mathematical formulas when written down.
From form to thought, it is highly artistic.
The best realistic paintings must also be highly mathematical when drawn.
Those lights and lines are full of digital symbols dancing underneath them.
The golden ratio of architectural design, the projective law of visual focus, fractal geometry and picture composition. Of course, Gu Weijing used the tip of the brush to create cloud-colored colors, and he could not escape the refraction and influence of optical laws in his brushwork. dispersion.
Art and science are not opposite ends, but two intertwined ribbons in the hands of the goddess of nature, both expressions of thousands of societies.
Different paths lead to the same destination.
Realistic painters are like wandering through countless interlaced function maps, using their brushes to find the flying curve that can bring together and coordinate all the messy curves, unify all lawful functions, and reach the origin of the world's most beautiful and absolutely fair. moth.
The moth knows that it will never reach the burning singularity.
You can only keep getting closer, keep getting closer, keep practicing your skills, and run on the peaks and troughs composed of functions, just to get closer to the singularity that exudes endless charm.
The singularity that makes them chase their whole lives like moths to a flame.
It's called "The Real World".
But if Menzel’s writing skills were the kind of masters who could become the princes of mathematics such as Fermat, Euler, Newton and Poincaré.
Then those half-baked works by Vatel on the wall are, at best, only as difficult as the penultimate function question in the Dongxia College Entrance Examination.
Not everyone can do it, but that’s about it.
It’s just such a boring and half-toned work that “is just that”.
When Gu Weijing no longer uses the bird's eye view of the audience to criticize the artwork, but instead uses the perspective of a teacher to guide the painting, and participates in the painting from a higher dimensionduring the creation of this painting.
He still figured out the taste.
How to elevate a half-baked work to the level of a master by relying on the last layer of dyeing. How to transform a rough work into a mottled one by relying on the clouds in the sky and the fog on the waterside. The shadows and ripples on the lake surface are like polishing lenses, constantly improving the "resolution" of the work.
How to make the circle that Teacher Vatter spent ten years on the complicated function curves infinitely smaller, exhausting his skills, like a matador converging his lasso, to work hard for the second time? Approaching the edge of the origin of the "real world" for the first time
Thinking is the source of progress.
Knowledge is the basis of thinking.
In the past, Gu Weijing looked at the watercolor frame on the wall and pulled his hair bald like his grandfather Gu Tongxiang.
Those paintings on the wall were not something he could think up just because he wanted to.
System skills gave Gu Weijing a higher level of thinking dimension.
When he stood at the pinnacle of his watercolor skills, the shy and half-hidden mysteries in Mr. Dewey's works were completely opened to him.
Nowhere to hide.
From cold to warm colors on the palette, calling up a simple color wheel, activating the skill, and finishing the last stroke, it only takes about ten minutes.
Gu Weijing's watercolor experience alone increased by a small five hundred points, and the progress bar was filled to one-tenth.
Oil paintings, Chinese paintings, and even sketches have improved by dozens or hundreds of points.
Using Menzel's skills to draw a figure model compared to before, he gained several times more experience points. This was not an improvement brought about by simply using skills.
It is an improvement brought about by the understanding of realistic works.
The Emperor is worthy of his hard work.
It took Watter ten years to paint this painting. Tens of thousands of hours of hard work were concentrated on the same work. There is no way that the details of the painting techniques are a bit clumsy.
But the overall composition, the tilt angle of the trees, the tilt changes of the buildings from the covered bridge to the museum building, the angle of entry of tourists, the height and low setting of the eye level, and the 10,000 hours of grinding time are enough. A person who has never touched an instrument plays an Allegro piano piece with complex sound patterns like the Hungarian Rhapsody from beginning to end.
It is enough for any painter to be familiar with a work or a scene so deeply that it becomes part of the soul.
These compositional aspects are related to a painter’s talent, but more to do with hard work.
Professor Vattel can be proud to say that every tree, every piece of rubble, and the painting angle selected on his museum island have reached the level that can be recorded in his countless repeated experiments. It's like a textbook.
RealisticIn addition to techniques, he has already achieved the ultimate in areas that can be covered by painting experience.
Even if those landscape masters come here to paint this kind of subject for the first time, the expressiveness of their works may be better than his, but the composition will definitely not be more polished than his.
The so-called Monet copied water lilies throughout his life, but he only copied them for such a long time.
And these experiences and understandings were absorbed and absorbed bit by bit by Gu Weijing as he substituted himself into Wattle's perspective to guide the painting.
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