Harry Potter’s Morning Light

   Chapter 2470 An ode to everyday life

Leonardo da Vinci's paintings have many portraits of nobles and famous people, although he was a gifted and talented genius, his kind of devoting time and energy to every interest, breaking a contract twice in three days It's still unbearable, and there have been financial disputes from time to time in his splendid life, and the Pope even commented that he was "a man with a beginning and no end".

   Pigment is very expensive, especially ultramarine blue, which is more precious than gold, even in Leonardo da Vinci's paintings, but Vermeer likes to use it. But what he paints is not celebrities and nobles, but ordinary people, which is also a feature of genre paintings. It records the themes and characters in social life, which are often trivial things, but they are worth using in daily life. The price is comparable to gold. the ultramarine to draw it?

People's habits often need to be recorded only for major events. For example, in "Portrait of the Arnolfinis", the man in the painting is holding the hand of his newlywed wife. Appears to be pregnant.

  A mirror hangs on the wall behind the two of them. The mirror reflects the backs of the two of them, as well as the image of the painter himself and the other person. And that mirror is not a flat mirror as people often know it, but a convex mirror.

   It may be a technical limitation. Most of the mirrors made by people in the Middle Ages were convex mirrors. In the 16th century, painters painted their self-portraits in convex mirrors on raised wooden blocks. The ceiling of the Sistine is not flat, but curved. Even if Michelangelo drew his own drawings on the ground and then rubbed them on it, if the deformation caused by the curved surface was not considered, then the drawn figures would also be It will look very unnatural.

All in all, both Leonardo da Vinci and Michelangelo left a large number of manuscripts to record the process of their creation, but Vermeer did not. Considering the era in which he lived, optics in the Netherlands were very developed, and the invention of the microscope Crackle Hook is his friend. In "Portrait of the Arnolfinis", there is also a circle of small portraits around the mirror. It is the process of Jesus' crucifixion. It is very small. The artist needs to be very careful to draw them and even identify them. Similarly, there are many tiny dots in Vermeer's paintings, which look like pixels. Such tiny and exquisite brushstrokes will never be the Italian layered painting method. He must have used some optical skills to achieved the present effect.

   "It's not right to open the curtains," Farron said.

   "Hula".

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

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

   She did not know whether the story of Greer that Henri-Alex Munt told her was true, because Vermeer was not famous when he was alive, and his life became a mystery.

   In the past paintings, the protagonists were often kings, nobles or wealthy businessmen. Even if ordinary people appeared in the paintings, they were only supporting roles, or foiled the protagonists. However, the genre paintings of the Netherlands brought the most trivial details of life, ordinary people with unknown origins, and scenery that can be seen everywhere into the paintings. Although they are not as moving as the wizard's oil paintings, they record the beauty of simplicity and plainness.

Even though you are so ordinary, no one will remember your name, no one will praise you, and no one will bemoan the beauty and twilight for you, just like the 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 blooming quietly in the dark.

She doesn't appreciate "Eternal Augustus", the bulb that caused "tulip mania", just like people in Vermeer's time who couldn't appreciate his works, and he happened to be in "tulip mania" "after…

"see this."

   Fresnel said suddenly.

  Everyone is looking at him, at this moment he is closing one eye, holding Vermeer's "Music Lesson" "authentic" sideways in front of him, 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."

  Georgianna imitated him 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. Then she laid the painting flat again, and carefully observed the pattern again, and it looked a little incongruous.

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

   "Look." Fresnel pointed to a blue trace on the painting and said, "This effect occurs when a convex lens is poorly focused."

   "You mean convex lenses?" Edgeworth said.

   "Such a complex 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. "In the 17th century, mirrors were convex."

   Edgeworth was slightly surprised.

   "Oh, he did it!" 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 stood up and blocked the light, the trick would be over."

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

  Georgianna laughed.

   "Can you tell me who is your exclusive artist?" Farron 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."

  Georgianna was silent.

   "You really don't keep a portrait of yourself?" Farron asked again, "It would be a pity if you didn't."

   "I have one." She reluctantly said, "It was painted by Turner."

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

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

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

   She felt that Farron was so complimented because she thought she was British too.

   "He, unlike Vermeer, painted mainly landscapes."

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

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

   "Ah~ I remembered it." Farron said suddenly, "It is said that no matter how much the head of state paid, he would not sell it."

   She was so mad that she lost her mind when Figel appeared.

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

   "I have something to do," said Georgiana.

   Farron bowed politely, and Edgeworth also withdrew from the experiment and left 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)