Gu Weijing was in his room dealing with orders from Nutshell, but when Uncle Sakai arrived, he was called out by his grandfather.
"Did you paint both of these?"
Uncle Sakai had always held a good impression of Gu Weijing.
He asked straightforwardly at that mont.
Gu Weijing had nothing to hide, so he nodded.
"You’re the master the translator lady ntioned, sorry..."
"Oh! You have a great eye; that dirty-looking piece was spotted by you when even Lian Shengzi didn’t notice it."
Uncle Sakai was quite carefree.
He moved his gaze to the two paintings drying side by side at the door, "A good prospect for learning painting, seems well-suited for Impressionism."
Being a true expert, he could naturally judge from the drying level of the paints that the creation ti of the two paintings did not exceed a month apart.
The second painting, compared to the realistic style oil painting, was almost a complete transformation.
Perhaps Gu Weijing was better at copying,
but the control of the brush and the sense of coordination in forms between the two paintings were on completely different levels.
The progress was truly significant.
"Maybe... he realized sothing from that painting while copying."
Uncle Sakai thought to himself.
Many painters have such monts.
Especially after entering their thirties, forties when their artistic style reaches maturity.
With practice and accumulation over the years, the works gradually reveal personal style. As long as there is an occasional insight, there can be a large leap compared to before.
Gu Weijing may be a bit young.
However, art is never short of geniuses who make sudden leaps to great accomplishnts.
Compared to soone like Titian who, in his twenties, beca a renowned top painter in all of Florence.
The level of this painting isn’t astonishingly unbelievable.
"I don’t know how long this state can last."
Uncle Sakai once again quietly upgraded his assessnt of Gu Weijing a few notches in his mind.
The art field is certainly a tough environnt for success,
but having such good painting skills at a young age, he already has what it takes to be successful.
Of course,
it’s rely the foundation.
Since Gu Weijing was recognized by Professor Lin Tao, he certainly doesn’t lack a guiding ntor.
If he has a few more realizations in the next decade and his luck isn’t too bad, there’s no reason he shouldn’t beco quite successful as a painter.
"Can you bring out the original painting you bought for to admire?"
After a couple of pleasantries, Uncle Sakai promptly revealed the main purpose of his visit.
At the calligraphy and painting night market that day, it was too dark, and he rely glanced swiftly, instinctively feeling that the Old Church looked decent.
If it was an average painting, it would be missed.
Professor Yajima was a major expert in oil paintings, especially with his vast collection of Impressionist pieces in Japan, he had seen plenty of exceptional works.
Not to ntion, he had personally handled no fewer than ten of Monet’s non-public masterpieces on invitations from private collectors.
However, that painting truly had sothing unique.
Impressionist painters are sotis jokingly referred to as the sunshine school, specializing in the hazy effects of light and air mixing under sunlight on scenery.
Impressionism with dark tones is like a fla encased in chilling ice crystals, requiring color and emotions to achieve a delicate balance, blending together.
It’s not that you can’t paint it,
but if not careful, the picture can turn muddy and unattractive.
Such well-painted works are rare.
Missing such a painting would be truly regrettable.
Even if he couldn’t buy it, Uncle Sakai felt it would be worthwhile to admire it.
Thus, before leaving Yangon, he specially looked up the buyer’s address to make an additional trip.
Firstly, he was sowhat curious to et the sharp-eyed young person.
Secondly, Uncle Sakai truly wanted to examine the painting more closely.
Gu Weijing turned around and brought out the "Old Church on a Stormy Day" from the studio.
A good painting is not afraid to be admired by others.
From a pragmatic standpoint, for determining the market value of a painting from an unknown artist, his own praise pales in comparison to a casual comndation from soone like Professor Jiu Kai Yicheng.
Professor Yajima received the painting fra with both hands, held it against the light, to closely examine the brushwork details.
"Hmm... A very fine Impressionist piece, very fine."
He emphasized his tone slightly, raising his eyebrows.
Now the entire painting has been cleaned up nicely.
Uncle Sakai imdiately judged that although the painting skill wasn’t among the very top echelon of Impressionism, it had entered the quasi-first-rate threshold.
Placed in a typical art gallery, it would certainly count as a very comndable collection.
He then slightly stepped back to observe the overall impression of the painting from afar, the hallmark of Impressionism is precisely this fusion of color points seen from a distance.
"The color handling is also very good... it reminds of Monet’s ’Lu’an Cathedral’."
Uncle Sakai made his final assessnt: "A good painting."
"’Lu’an Cathedral’ is?"
Elder Gu Tongxiang asked.
The art news in Yangon was relatively isolated, plus he himself was not very interested in Impressionist oil paintings, hence he was unfamiliar with the na.
"Impressionism basically has no religious-thed works, but among paintings depicting architecture, the most famous church-thed piece similar to this one is Monet’s ’Lu’an Cathedral’."
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