Chapter 2470 Ode to Daily Life

Many of Leonardo da Vinci's paintings are portraits of nobles and celebrities. Although he was a gifted and talented genius, his behavior of investing time and energy in every interest and breaking contracts every day

It's still unbearable. There were financial disputes from time to time throughout his brilliant life, so much so that the Pope commented that he was a "man with a beginning and no end."

Pigments are very expensive, especially ultramarine, which is more precious than gold. It is rare even in Leonardo da Vinci's paintings, but Vermeer liked to use it very much. But what he painted was not celebrities or aristocrats.

, but some ordinary people. This is also a characteristic of genre paintings. It records the themes and characters in social life, often ordinary and trivial things. But is daily life worth painting with ultramarine that is as expensive as gold?

People often have the habit of recording only important events. For example, in "Portrait of Mr. and Mrs. Arnolfini", the male protagonist in the painting holds his newlywed wife's hand, while his wife lowers her head slightly and presses her left hand on her swollen belly.

She looks like she is pregnant.

There is a mirror hanging on the wall behind the two people. The mirror reflects the backs of the two people, as well as the image of the painter himself and another person. The mirror is not a flat mirror as people often know, but a convex mirror.

Perhaps due to technical limitations, most of the mirrors made by people in the Middle Ages were convex mirrors. By the 16th century, there were still painters who painted their own self-portraits in convex mirrors on raised wooden blocks. The ceiling of the Sistine is not flat.

, but curved. Even if Michelangelo drew his sketch on the ground and then rubbed it on it, if the deformation caused by the curved surface is not considered, the drawn characters will look very unnatural.

All in all, both Leonardo da Vinci and Michelangelo left a large number of manuscripts to record their creative processes, but Vermeer did not. Considering the era in which he lived, Dutch optics was already very developed, and the inventor of the microscope

Crackle Hook was his good friend. In "Portrait of Mr. and Mrs. Arnolfini", there is a circle of small portraits around the mirror, which is the painting of the crucifixion of Jesus. It is very small, and it takes a lot of effort for the artist to paint them or even recognize them.

Very careful. Similarly, there are many tiny dots in Vermeer's paintings, which look like pixels. Such small and exquisite brushstrokes are definitely not the Italian layer-by-layer painting method. He must have used some kind of optical device.

skills to achieve the current results.

"Open the curtains, that's totally wrong," Farron said.

"Hula".

After the curtains were opened, the dazzling sunlight made it almost impossible for her to open her eyes. It took her a while to adjust again. The paintings on the canvas looked dull and lacked the comfort, tranquility and transparency of Vermeer at all.

"Light".

Laget felt that Vermeer's techniques would make the painter unemployed, but Georgiana did not feel that although Vermeer's images and changes in light and shadow were as exquisite as photos, it still took a pair of eyes that were good at capturing to record that scene.

,

She didn't know if the story about Griet that Henri-Alex Montt told her was true, because Vermeer was not famous when he was alive, and his life became a mystery.

In previous paintings, the protagonists were often kings, nobles or wealthy businessmen. Even if ordinary people appeared in the paintings, they were only supporting roles or to set off the protagonist. However, Dutch genre paintings combine the most insignificant details of life, unknown and unknown.

Ordinary people and the scenery that can be seen everywhere are all moved into the paintings. Although they are not as moving as the wizard's oil paintings, they record a simple and plain beauty.

Even though you are so ordinary, no one will remember your name, no one will praise you, and no one will lament your beauty's twilight years. Just like the quiet flower in the valley, when the flower is not seen, the flower and the spectators will die together. When they see it,

When it blooms, it blooms in the hearts of the spectators. For Georgiana, "Girl with a Pearl Earring" is like a blue tulip blooming quietly in the dark.

She was not very able to appreciate "Eternal Augustus", the bulb that caused "Tulip Mania", just like some people in Vermeer's time could not appreciate his works, and he was in the era of "Tulip Mania"

"after……

"check it out."

Fresnel said suddenly.

Everyone was looking at him. At this time, he was closing one eye and holding the "authentic" Vermeer's "Music Lesson" sideways in front of his eyes, like he was holding a telescope.

"What?" Others came over.

Fresnel gave the painting to Georgiana. "The bottom and top of the piano are straight, but the seahorse pattern on the piano is distorted."

Georgiana imitated what he had just done and lifted the picture up.

It is true that the bottom and top of the piano are parallel, but there is a slight curvature in the middle. It is almost imperceptible. Then she laid the painting flat again and looked at the pattern carefully. It did look a bit uncoordinated.

At this time Fresnel picked up another painting, which was "Woman Reading a Letter".

"Look." Fresnel pointed to a blue trace on the painting and said, "When the convex lens does not focus well, this effect will appear."

"You mean a convex lens?" said Edgeworth.

"Such a complicated pattern cannot be seen clearly in the dark." Fresnel put down the painting and began to adjust the equipment.

"I don't think it's a convex lens," Georgiana said. "In the 17th century, mirrors were still convex."

Edgeworth was slightly surprised.

"Oh, he did it like this!" Farron exclaimed, "Remember the Prussian magician we met last time?"

"I don't think it's that simple." Fresnel stared at the image in the mirror. "If someone stands up and blocks the light, the trick will fail."

"I don't care if it's true or not." Farron muttered in Georgiana's ear. "At last there is one less question to keep me awake."

Georgiana laughed.

"Can you tell me who is your exclusive painter?" Farron immediately took the opportunity to ask.

"Oh? Are you still asking about this?" Georgiana asked pretending to be mysterious.

"I asked David and he said it wasn't him." Farron said, "I really want to see his work."

Georgiana said nothing.

"Are you really not going to leave a portrait for yourself?" Farron asked again, "It would be a pity if you weren't."

"I have one," she said helplessly, "it was painted by Turner."

Farron looked at her in confusion, as if he had never heard of this name.

"He is a very talented Englishman," Georgiana said, "but he is too young, like a young Michelangelo."

"Do you think he will become Michelangelo in the future?" Farron said with a smile.

She felt that Farron thought that she was also British, so he was so complimentary.

"He is different from Vermeer. He mainly painted landscapes."

"But he painted your portrait." Farrong said with an ambiguous smile.

"While I'm asleep," Georgiana said angrily.

"Ah~ I remembered it." Farron said as if he had a sudden realization. "It is said that no matter how much money the head of state paid, he would not sell that painting."

She was so angry that she became confused, and then Figel appeared.

"Madam, Mr. Langhenhofen is waiting for you."

"I have something to do," said Georgiana.

Farron bowed politely, and Edgeworth also withdrew from the experiment and walked away with Georgiana.

After two days of rest, it was almost time to continue with the next social activities, but she just didn't know what was waiting for her next.
Chapter completed!