The Versatile Master Artist

Chapter 179 - 116: Classic Maxims_3

For example, Wild Beast Matisse—"The deliberate pursuit of precision is not natural," Pre-Raphaelite—"Return the charming and shallow art to purity," Austrian Separatist Movement—"For the art of the era, art deserves freedom."

...

These classic summaries are both beautiful and accurate.

Much like Byron’s famous lines of poetry, they are celebrated in artistic circles.

And Detective Cat’s remark is the most accurate summary of Impressionism that Van Doorn has ever heard, not grand and intense, but lingering in taste.

With just this single phrase,

Van Doorn believes this podcast has the potential to become a classic, at least in the professional field, and it will certainly attract countless drawing enthusiasts who seek it out by name.

What makes a classic saying classic is its enduring nature.

Things that are sufficiently beautiful have piercing power.

For each additional person who hears this phrase, it means Van Doorn loses face once more.

"Amazing, this is simply amazing. This is the most exhilarating summary of Impressionism I have ever heard. Lady Detective Cat, please allow me a small request, I want to engrave it on the sign at the door of the Taylor Art Gallery Impressionism exhibition. It’s truly moving."

As if to confirm his suspicion.

At the end of the podcast, Van Doorn heard Curator Tangkis excitedly clapping and praising.

...

Gu Weijing used a pen to sketch the curve of short hair on the paper.

He didn’t draw quickly, but he was very steady.

Gu Weijing applied slight pressure with his fingertips, feeling the sensation of the pen tip soaked in ink gliding over the sketch paper and rubbing against the paper’s texture.

Sss~

The pen tip moved to the end of the hair, carrying a hint of arc, and he lightly and evenly released the pressure, making the line more elastic.

When drawing normally with a pen, one only needs to ensure there is no ink buildup on the pen tip, and as long as the ink flows smoothly, it’s enough.

But Elder Cao’s requirement for him was to draw with the mindset of sketch technique.

In Chinese Painting, even the thinnest line has its own form, with width and thickness.

He meticulously handled the depth of ink and the intensity of the ink marks,

Gu Weijing meticulously attended to each detail.

He finished the line, put down the pen, blew gently on the paper, then turned his head to look at the girl in front of the computer modifying the thesis.

The process of convincing Koizumi Katsuko was much easier than Gu Weijing had initially imagined.

He originally thought that Miss Shengzi wouldn’t agree so easily to his "unreasonable demands."

An art paper encompasses the efforts of two people collaboratively.

Honestly speaking, if judged by the effort poured into writing the paper, he and Koizumi Katsuko valued the paper differently.

Actually, she valued the paper more than he did.

Not only did Shengzi fly tirelessly between major art galleries in Europe recently to collect materials and write a comparative review of the styles of Carol and other great Impressionist painters.

Moreover, aside from voicing his opinions, more than ninety percent of the rigorous textual work in the paper was also completed by Koizumi Katsuko.

From this perspective, Koizumi Katsuko should have more decision-making power over this paper than he does.

Gu Weijing, for his own inner persistence, sacrificed not only his own interests but also Koizumi Katsuko’s share.

Someone more particular about matters might even point at his nose and scold him profusely—it’s not beyond possibility.

But Koizumi Katsuko agreed decisively.

"Thank you, Miss Shengzi, I’m very touched."

"By the way, Shengzi, there’s one more matter I’d like to discuss with you."

Gu Weijing pondered for a moment, then suddenly spoke.