In the next few days, Zhang Chen either took the library of the China Academy of Fine Arts or in the warehouse of his lakeside oil painting museum to prepare materials for the next "Painting Talk".

Zhang Chen knew that he could not push this job by himself. Even if it was for Liu Chengnang's sake, he would help Liu Qing do this program well, which could be regarded as an indirect thanking Liu Chengnang.

What's more, this is also something Zhang Chen likes to do. Zhang Chen feels it is very meaningful to introduce his favorite oil paintings to more people, let them go out of this warehouse and enter the vision of more people.

This warehouse has a constant temperature and is almost the same all year round. Regardless of the winter, summer and summer outside, Zhang Chen felt a little sorry for the paintings in this warehouse, thinking that they were almost becoming delicate nobles here. They should not be like this. They should be covered with the fireworks of reality. They should not be dead, but lively.

What kind of passionate age did they, especially the paintings of the old gentlemen from the National Art College, come into being when they were born?

For example, this time, a still life sketch by Zhu Dequn by Zhang Chen was very simple, it was a simple wooden table, a sloping basket on the table, inside and outside the basket were more than a dozen potatoes. Zhang Chen felt that these potatoes were painted more heavy than those of Van Gogh.

When Mr. Wu Guanzhong came to their oil painting gallery that time, he saw this painting. He told Zhang Chen that it was painted in Yuanling, Hunan. The reason why he remembered it so clearly was that he also drew the same painting that day. He remembered that four or five classmates together drew the same still life.

When we started painting, there were more than a dozen potatoes on the table, but when they finished painting, there was actually no potatoes on the table.

"Why?" Zhang Chen was curious and asked.

"It was taken by Lin Wenzheng and the others, and they cooked it and ate it. At that time, everyone was not full every day. How could they let so many potatoes go?" Wu Guanzhong said, "The most disadvantage was that a few of us painted them. When we painted them, we would not even have the potato skin."

After Mr. Wu Guanzhong laughed, Zhang Chen also laughed.

Mr. Wu and Zhang Chen said that it was Zhu Dequn. We walked along the way, promoting anti-Japanese war, dipped it in lime water, and wrote slogans on the house on the wall. Zhu Dequn liked to write slogans to the highest point every time...

Zhang Chen clearly remembers that yes, Mr. Wu doesn’t talk about the top, but the top head. In many places in Jiangsu and Anhui, the top is called high head. Even when Mr. Fu Lei was translating "John Christopher", Zhang Chen remembers that he accidentally used "high head", such as "high head of a cabinet", "high head of a wall", etc.

Zhang Chen asked Mr. Wu, why did Zhu Dequn do this and wrote it to the top?

"He is tall, Zhu Dequn is over 1.90 meters tall. He said, aren't the Japanese all Japanese shorts? When they write about their tall heads, the Japanese cannot reach them and cannot be painted off." Mr. Wu said.

When Mr. Wu said this, he couldn't help laughing again. Zhang Chen seemed to be able to hear his unrestrained laughter now.

Zhang Chen chose ten paintings so that he could do ten episodes first. Zhang Chen started collecting information around these ten paintings and wanted to go to CCTV. He didn't dare to speak nonsense, and it was not in line with his personality. Since he had agreed, Zhang Chen felt that he should do this well.

In their warehouse, there are many memoirs written by the old men themselves, and letters they communicate with.

At that time, when Zhang Chen and his friends collected these works, many of the old gentlemen who had been neglected for their whole lives really regarded them as spiritual sustenance. They not only gave or sold their paintings to them, but also gave their writings and treasured letters from teachers and classmates to them for safekeeping.

Zhang Chen read articles and letters one by one, as if he had returned to that era and was immersed in the atmosphere at that time.

Zhang Chen looked at the ten paintings he selected, and every one had a story, including those from William Cai, those from Wu Guanzhong, the two paintings from the oil painting gallery that were selected by him, and those from Wu Dayu. Zhang Chen always thought that Wu Dayu could not be an exaggeration to praise him. He was an underrated master.

Among the ten paintings selected by Zhang Chen, there is one of Yan Wenliang's works. Yan Wenliang has nothing to do with the National Art College. This painting itself is just like Yan Wenliang's other works, and it adheres to a plain style. The reason why Zhang Chen chose it is because the story behind it is very interesting and a bit sad to say.

Yan Wenliang's landscape paintings have the effect of stage setting and pay great attention to the composition. When the moon and the sun appear in his picture, they always have a certain degree of drama. When Zhang Chen used to draw the set, he referenced Yan Wenliang's paintings.

This work by Yan Wenliang is not a landscape, but one of his "Kitchen" series paintings. This painting and the other six works by Yan Wenliang were bought from a good friend of Yan Wenliang and an old man who founded the Suzhou Art College with him.

The old gentleman and his wife lived in a bungalow, which was a room of fifteen or sixteen square meters, including the bedroom, living room, kitchen and dining room. The terrain of the house was very low, the room was very humid, and there was a strong smell of mold.

Zhang Chen clearly remembered that when he and Yao Fen walked into the old man's house, the painting was hung on the wall, on the kerosene stove, and there was no picture frame. It was just a stretched canvas hanging there. Although the signature was already very blurry, Zhang Chen could still see at a glance that it should be Yan Wenliang's work.

When Zhang Chen took the painting off the wall, there was a thick layer of greasy on it. Zhang Chen didn't even dare to wrap the painting with newspaper. He was afraid that the newspaper would be stained with oil on the painting and could not be removed.

That day, Yao Fen held other paintings and Zhang Chen held this one in his hand. They left the old man's house and walked to the side of the car parked outside, letting the painting lie flat in the trunk.

Zhang Chen's hands were covered with greasyness and washed with mineral water and tissues. It had not been cleaned yet. When he drove back to Hangzhou, his hands would stick to the steering wheel. Until they stopped at a roadside restaurant for dinner, Zhang Chen went to the store's sink and washed it twice with dishwashing liquid before washing his hands.

Zhang Chen and Yao Fen joked that this "Kitchen" is really full of fireworks, and Yao Fen laughed.

Zhang Chen, Yao Fen and Zhao Xin all liked this painting very much. There was a huge stove in the middle of the picture. There were cupboards, ham, bacon and above the stove. On the wall to the left, several bamboo baskets were hung from the beams. On the right side of the picture, close to the lattice window, there was a chopping board. A child, tilted his head and fell asleep on the chopping board.

The whole picture is dark tones, and the quiet scene in the kitchen at dusk is silenced. From half an open lattice window, a ray of dusk light shines in, illuminating the face of the child who is dozing lazily. The child must be hungry and waiting for his mother to return from outside, making the kitchen noisy and busy again.

This dimness and silence seems to have a kind of daily sorrow. Adults may be both big things when they are worried and busy, but for this child, what he is worried about is that why hasn't his mother come back yet?

It was already past ten o'clock in the evening when Zhang Chen and his friends returned to Hangzhou. They put the paintings in the warehouse and everyone went home.

The next afternoon, Yao Fen called Zhang Chen and asked him to go to the oil painting museum immediately, saying that it was the painting he bought yesterday and there was a problem.

Zhang Chen was shocked and thought to himself how this is possible. The ones they bought yesterday not only include Yan Wenliang's paintings, but also the works of the old man himself. He also returned from studying in France in his early years. Although he was not very famous, his level was not low.

His experience with Yan Wenliang and colleagues also ensured the authenticity of Yan's paintings. Moreover, Yan Wenliang's paintings were not valuable at the time. With the level of this old man, he would definitely not bother to imitate and painter. The minimum backbone of this person is still there.

Zhang Chen was driving the car while thinking about it.

When we arrived at the "Lakeside Oil Painting Museum", we walked into Yao Fen's office. Yao Fen and Zhao Xin looked at him and laughed. Zhang Chen asked, "What's wrong, it's ridiculous?"

Yao Fen nodded and said, "Yes, outrageous, outrageously wrong."

Zhang Chen muttered, it's impossible, I can't see it.

Zhao Xin said yes, boss, let you see it.

Zhao Xin walked out and walked back, holding a painting in her hand, turned the picture over and erected it by the wall, Zhang Chen was startled.

He saw this painting as Yan Wenliang's "Kitchen" they bought yesterday. However, this painting is completely different from what he saw yesterday. The whole painting is bright and full of colors, and it is not the kitchen they think of as dusk, but the kitchen in the morning.

The morning light shone in from the half-open lattice window, not the afterglow of the sunset. The sleeping child, today he had eaten his breakfast and had nothing to do, and was lazy to sleep.

The scene that looked quiet and sad yesterday seemed so quiet and peaceful today.

Zhang Chen couldn't help laughing.

He understood that this was because this painting had been hanging on the old man's house, on the kerosene stove, and the result of long-term smoke and fire. Today, after Zhao Xin and the others cleaned it, the original appearance of the painting was presented.

Zhang Chen stared at the painting for a while, shook his head, and stood up, went to the shelf, and found a file bag. The photo Zhao Xin and the others took before cleaning the painting that day.

Zhang Chen felt that the key point was not Yan Wenliang, but the old man. When Zhang Chen went to Suzhou later, he went to the old man's house again. The door was locked and asked his neighbors. He found out that the old man had passed away, and the old woman was sent to the nursing home in the district by the street.

Zhang Chen saw the old lady in the nursing home. The old lady was already Alzheimer's disease and could not recognize him at all.

Zhang Chen sighed.

He thinks that on TV, he can also talk about similar things.

He can tell you a group portrait that Rembrandt painted for the Amsterdam City Shooter Company.

After the painting was finished, the members of the Sagittarius team took it back. Because the painting was too big and could not be hung in the hall, the players took it upon themselves to cut off the perimeter of the painting, which made the whole painting lose its original balance.

The worst thing is that the hall where this painting was hung was burned with peat and open fire to keep warm. Over time, a thick layer of charcoal ash fell on the painting, making the color of the whole painting dim. In the 18th century, people mistakenly thought that this scene, which was originally during the day, were carried out at night, and named the painting "Night Watch".

It was also a later cleaning and restoration work that restored the painting to its original appearance, but the parts that were cut by the team members will never be able to be restored.
Chapter completed!