Harry Potter Morning Light

Chapter 2470 An Ode to Daily Life

Many of Leonardo da Vinci's paintings are portraits of nobles and famous people. Although he was a gifted and talented genius, his behavior of investing time and energy in every interest and breaking contracts in three days It was still unbearable, and money disputes appeared from time to time in his brilliant life, so that the Pope commented that he was a "man with a beginning and an end".

Pigments are very expensive, especially ultramarine blue, which is more precious than gold. It is rare even in Da Vinci's paintings, but Vermeer likes to use it very much.But what he paints are not celebrities and nobles, but some ordinary people, which is also the characteristic of genre paintings. They record the themes and characters in social life, often some trivial things, but daily life is worth using. The price is comparable to gold. Ultramarine blue to draw it?

It is people's habit that only important events need to be recorded, like "Portrait of the Arnaud Finneys", the master in the painting holds the hand of his newlywed wife, his wife lowers her head slightly, and presses her left hand on her protruding belly, watching Looks like she's pregnant.

A mirror is hung on the wall behind the two, and the mirror reflects the backs of the two, as well as the image of the painter himself and another person.And that 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. In the 16th century, some painters 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, if the deformation caused by the curved surface is not considered, the drawn characters will be It will look very unnatural.

All in all, both Leonardo Da Vinci and Michelangelo left a large number of manuscripts to record their creative process, but Vermeer did not. Considering the era he lived in, the optics of the Netherlands was already very developed, and the inventor of the microscope Crackhook is his best friend. In "Portrait of the Arnolfini Couple", there is a circle of small portraits around the mirror, which is the process of the crucifixion of Jesus. It is very small, and the artist needs to be very careful to draw them and even recognize them.Similarly, there are many tiny dots in Vermeer's paintings, which look like pixels. Such small and exquisite brushstrokes will never be the Italian way of layering layers of painting. He must have used some optical techniques to achieve this. achieved the present effect.

"It's totally wrong to open the curtains," Farron said.

"Hula".

After the curtains were drawn, the glare of the sun made it almost impossible for her to open her eyes, and it took her a while to get used to it again. The paintings on the canvas looked dim, not at all like Vermeer's comfortable, peaceful, and transparent atmosphere. "Light".

Laggette felt that Vermeer's techniques would make painters unemployed, but Georgiana didn't think that although Vermeer's pictures and changes in light and shadow were as delicate as photos, a pair of eyes that were good at capturing was needed to record that scene. ,

She wondered if the Griet story that Henri-Alex Mount had told her was true, because Vermeer was unknown in his lifetime and his biography remained 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 protagonists.However, Dutch genre paintings have brought the most insignificant details of life, ordinary people with unknown origins, and scenery everywhere into the paintings. Although they are not as moving as the oil paintings of wizards, they have recorded simple and plain beauty.

Although you are so ordinary, no one will remember your name, no one will praise you, and no one will lament for you that the beauty is late, just like a quiet flower in the valley. When it blooms, it blooms in the hearts of the spectators. For Georgiana, "Girl with a Pearl Earring" is like a blue tulip quietly blooming in the dark.

She doesn't really appreciate "Augustus Forever", the bulb that caused "Tulip Mania", just as people in Vermeer's time couldn't appreciate his works, and his era happened to be "Tulip Mania" "after……

"see this."

Fresnel said suddenly.

Everyone was looking at him. At this time, he was closing one eye, holding the "authentic" Vermeer's "Music Lesson" sideways in front of his eyes, like 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 did just now, and held up the painting.

It is true that the bottom and top of the piano are parallel, but there is a slight curvature in the middle, which is almost imperceptible, and then she laid the painting flat again, and carefully observed the pattern, and found that it was indeed a bit uncoordinated.

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

"Look." Fresnel said, pointing to a blue mark on the painting, "this is what happens when a convex lens is out of focus."

"You mean a convex lens?" said Edgeworth.

"Such a complicated pattern can't 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. "Mirrors were convex in the 17th century."

Edgeworth was slightly surprised.

"Oh, he did it like that!" Farron exclaimed, "Do you still 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 stood up and blocked the light, the trick would fail."

"I don't care if it's true or not," Farron whispered in Georgiana's ear. "It's one less problem to keep me awake."

Georgiana laughed.

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

"Oh? Are you still inquiring 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 keep a portrait of yourself?" Faron asked again, "It would be a pity if you didn't keep it."

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

Farrong looked at her in confusion, as if he had never heard of the name.

"He's a very talented Englishman," Georgiana said, "but he's 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 she was also British, which was why she was so flattering.

"Unlike Vermeer, he mainly painted landscapes."

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

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

"Ah~ I remembered." Farrong said suddenly, "It is said that no matter how much the Führer pays for that painting, he will not sell it."

She was in a daze with rage, when Figgle appeared.

"Madam, Herr Langenhofen is waiting for you."

"I have work to do," said Georgiana.

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

After two days of rest, it's almost time to continue the next social activities, but I don't know what is waiting for her next.

(End of this chapter)