Chapter 166: A world where only Annuo feels uncomfortable
Outside the Great Catholic Church in Florence, Father Anassaro held a grand exhibition for this new work, with the work "Travel to Hell" by the painter Laurence Anno Falgao as the main exhibit. Verrocchi
Austria's "Madonna and Child in Berlin" and other works by several students of Verrocchio were the objects of the exhibition. The main dignitaries and dignitaries living in Florence and several surrounding big cities were invited, as well as some more famous connoisseurs.
Come and watch.
As the artist who painted "Travel to Hell", Laurence Annaud naturally had to dress up to attend.
A weird black and white hat was draped on Annuo's head, and his straight black hair was rolled up and fluffy hanging to one side. A beige lining was worn inside, and a wide and bulging coat was wrapped outside, and there was a
A short cloak hangs on it.
The coat is cut off at the elbow, and there are pure black gloves going down.
The lower body is wearing a pair of blue tight trousers, the kind that are completely close to the body, and on the feet are pointed shoes with metal decorations, and the toes can kick someone to death.
In addition, Annuo also has some gold and jewelry decorations that he usually makes on his body. After all, he mainly studied goldsmithing and recently started to get involved in the jewelry industry.
All in all, the dressed-up Annuo looked noble, elegant, but extremely weird. However, at that time, this outfit was the greatest respect for those who came to appreciate his works.
It's winter now, and even though it never snows in Florence, the current temperature is only about ten degrees, but Anno is sweating profusely from the heat.
Annuo, who is usually calm, was a little irritated by this outfit.
It was cumbersome and ugly. If it weren't for the respect of these powerful people, he would never wear this outfit.
But he also understood that Verrocchio was helping him. Artists rely on fame to make a living. Without money and fame, where would you have the energy to engage in art? Food is also a problem.
Anno's work is not an abstract work. It just alienates the real scenery and depicts a "hell" that does not exist. In essence, it is still a world dominated by human troubles, and Jesus does not walk.
In hell, the place where he walks is still the human world.
A group of nobles and connoisseurs gathered around Anno and his painting. They didn't know whether they understood what Anno wanted to convey through this painting, but they just kept exclamating.
"This is so holy! God bless..."
"Ah ah, is this what hell looks like?"
“Amazing new style!”
Everyone was appreciative, and Annuo endured the heat of winter and greeted them with a smile.
Verrocchio chatted happily with a group of his artist friends nearby.
Nobles and connoisseurs admired excellent works of art.
The people in the church attracted more believers, and Anno's paintings also conveyed a positive thought in a religious sense.
A world where only Anno felt uncomfortable was born.
The chubby Perugino walked up to Anno with an excited expression. He had the best relationship with Anno among Verrocchio's apprentices: "I really belong to you, Lawrence!"
"Thank you, Perugino." Anno had sweat streaming down his face, but he still smiled in return.
Verrocchio said to the priest: "I have already told Lawrence that he will donate this work to the church for free after the exhibition."
Father Anassaro found Annuo gratefully and saluted deeply: "Thank you, Mr. Lawrence."