"Thirdly, Professor Cruz’s office is in the north side educational building, room 203 in Block B. Although they are currently busy, I request that you set aside ti this afternoon to visit this professor. You’re sowhat right; this madam is indeed not an easy woman to deal with, but she is the wife of a great painter and has the right to be arrogant. Actually, your basic skills in painting are better than mine; leaving a good impression on the professor and becoming Professor Cruz’s student wouldn’t be difficult. Rember, your attitude must be respectful..."
Gu Weijing’s mouth twitched slightly.
Listening to Miss Mona earnestly instructing him on how to flatter Mrs. Sakai, he felt a strange sentint he couldn’t quite describe.
"What’s with that expression? I’m serious."
Mona frowned, admonishing him: "In tis like this, being aloof and unwilling to put down your pride isn’t beneficial for you. You need to learn to be a bit smarter. Even Koukou, that enchantress, is preparing to shalessly flirt with the new and beautiful transfer student."
After a subtle jab at Koukou, Mona continued: "In the art world, connections matter above all. Establishing ties with a family of such artistic stature could potentially save you a decade’s worth of detours."
"Thank you, Mona."
Gu Weijing smiled.
Though the girl’s tone was sowhat stern, he could still tell it was for his own good.
"Mona, can I ask you a question? Are you willing to trust ?"
He looked seriously at his childhood friend.
"What do you an?"
Mona frowned.
"I believe excellent art possesses penetrating power. A sufficiently good piece, even if it’s just one, can be more moving than a hundred diocre ones. As for the studio, staying close to life enables the creation of truly captivating works. I have found a location better than the ones at school. If you’re willing, I’d like to invite you to my new studio to paint together."
Gu Weijing patiently explained.
"You are the best friend I’ve had since childhood. I’m more than happy to share everything good with you. Even if you can’t attend Mrs. Sakai’s advanced classes, it doesn’t matter. If you trust , I’m also willing to dedicate ti to designing a portfolio and guiding your painting..."
"Enough, that’s enough!"
Mona’s face turned grim, her pretty face cold as ice.
"You have no sense! Who do you think you are? Conquering the judges with a single painting—as if I’d believe that if Miss Sakai said it. You? That’s the funniest joke I’ve heard this year."
"Gu Weijing, I never knew you could be so naive, getting a few good grades at school and thinking you’re so great painter. Even your grandfather, Gu Tongxiang, was just a second-rate artist in the art desert!"
"I’m sorry... Mona, please trust . I have my reasons, but I can’t share them with you right now."
Gu Weijing gazed into her eyes.
Elder Cao’s matters are private agreents, and the content of writing papers with Koizumi Katsuko requires temporary confidentiality.
There was another reason lurking in his heart.
Since his conversation with Mrs. Sakai,
Gu Weijing had been uncertain about how to handle his relationship with Koizumi Katsuko.
Especially in front of Miss Mona, whom he secretly felt fondness towards, he was even more afraid to bring it up.
Miss Shengzi is unquestionably excellent.
But if he were to ask himself now,
Which is more important between Mona and Miss Sakai, it’s probably the longstanding and deepened feelings with Mona from childhood that resonate more.
"You don’t need to apologize to . If you’re bent on your ways, reality will slap you in the face. As for ... this is my answer to you. Gu Weijing, you are truly disappointing."
Mona crumpled the sketch beside her into a ball and tossed it into the trash can, stamping her feet in anger before turning to leave.
...
The afternoon in the reading room was quiet.
Only the rustling of flipping pages, keyboard typing, and occasional murmured conversations interrupted the silence.
"In Lady Carol’s writing, the techniques and characteristics of Impressionism are expressed very maturely. We can reflect on this with Shapiro’s ’Theory of Still Life Painting’..."
Entering work mode, Gu Weijing temporarily set aside the morning’s events.
He thumbed through the docunts marked with notes, softly expressing his views.
Beside him, Koizumi Katsuko’s slender fingers danced lightly on a small laptop keyboard, transcribing the insights of their discussion into a complete essay.
"By the way, I actually have an opinion. Shouldn’t this part be revised? We’re speculating that one of Carol’s real identities is Monet’s lover and first wife, Camille. Isn’t that too presumptive? The possibility is quite slim."
Gu Weijing’s fingers hovered lightly over a point Koizumi Katsuko had written in her notebook.
"It’s been over a century and a half; the likelihood of finding original information about the artist is very minimal."
Koizumi Katsuko explained: "My father’s view is, since it’s all conjecture, the more outlandish the content, the better."
Despite the veil of obscurity surrounding Carol’s specific identity as they began writing the paper,
Uncle Sakai still suggested they offer several speculations about Carol’s real identity.
This is a little trick when writing academic papers.
In humanities essays, especially those with a certain "archaeological" nature in art, a lot of ti the identity of the owner of so unknown works is largely guessed.
Like hunters firing shots randomly into an empty forest, if they hit a duck by chance eventually, you’re naturally brilliant.
The paper’s value increases significantly.
If it doesn’t hit, a few gunshots here and there to startle the readers still works well.
You may call it shallow, but this is almost a tacit understanding among insiders in the field.
The situation of Uncle Sakai suggesting to attribute an unknown Impressionist piece to Monet’s wife is far from being the most outlandish among the nurous title-bait techniques out there.
Classic examples include nurous unknown Dongxia Han Dynasty tombs claid by several professors in different papers to be the tomb of Cao Cao.
Making academia and dia alike weary of news regarding the discovery of Cao Cao’s tomb.
But there are positive examples too.
For instance, the famous rchant Schliemann, a fan of Ancient Greek legends, dug up nurous sites across the Balkan Peninsula during the 19th century, and as long as he found sothing, he announced he’d discovered the ruins of Troy.
The academic community all thought he was bluffing,
But he ended up hitting the mark one day, and overnight, he beca as renowned as Carter who discovered Tutankhamun’s tomb, Korfitz who found Babylon, and Shang Boliang who deciphered hieroglyphics.
Among the initial possibilities of Carol’s identity they proposed, the most prominent na is undoubtedly Monet’s first wife, Camille.
"Although the two nas have so similarity, and the ages are similar. However, Camille’s hair color is clearly recorded as dark, while according to the missionary diary, the hair color of that young female painter is a rare golden-red."
"Could it be dyed?" Koizumi Katsuko said.
Since it’s all wild guessing,
From a rational standpoint, it’s actually very unlikely that Carol’s real identity can be verified.
Therefore, attributing this painting to Monet’s wife, whether it’s the market value of ’Old Church on a Stormy Day’ or the academic appeal of the paper, far outweighs attributing it to an unknown small painter.
"Comrcial hair dye was broadly popularized by L’Oreal about ten years later, so the likelihood of it being dyed is quite slim."
Gu Weijing shook his head.
"Actually, I found in the Paris telegram registration index brought by Uncle Sakai and kept in the archives in France, that there was a female studio owner nad Kara in the neighborhood near the Red Light District and Moulin Rouge, where impressionists often gathered. Personally, I think we can use her to replace Camille."
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