I thought it was an immediate fact to be exposed, but it didn't take long for Meena and I to know that Antoni didn't like 3D paintings.
In the process of coloring the grey monotone of Grizzaille, you will soon find out.
Because you don't understand the 3D arrangement, you can't complement the sense of distance successfully.
Colouring suddenly gives me a sense of 3D. The dark lightness of the colour is swollen and swollen, presenting a contrast of shadows and light in the world of painting.
The result is a direct reflection of the distance in the author's brain. The nose must be high, the eyes swollen, the lips soft and swollen, and there must be muscle and clavicle indentations in the neck, not cleavages.
This is common sense.
And Antoni didn't have that.
The human eye can't be trusted more than you think. He had lost a fairly fine part of 3D. The unusual flatness of the face depicted is horrible.
There is stereoscopic information due to shading. Naturally, however, the direction of light varies from time to time, so Antoni was forced to struggle considerably because of it.
With the lantern I locked in fire magic, illuminating the portrait from the same direction finally cleared that problem, but yet another one arises.
Because the light of fire is strong, the shadow also emerges strong, and then the soft skin texture is clearly divided into shadows and light because of the emphasis of light.
That's also why Antoni's painted face becomes unusually flat. On the contrary, about the face on the right half, it is something that draws half the disappearing eye intact because of the shadow, so the right half turned into a creepy picture with only one white eye.
On closer inspection, there was no texture or blood color of the skin, wet feeling of the eyes, gloss of the eyelashes, thinness of the hair, they were not.
Flatness just painted with color.
These details, such as skin texture, were moments when it was realized that they were complementary to each other in the brain, so they could be painted in detail.
Antoni can't remember the shape. So I have to check with my eyes anyway. But how can you feel the texture of your skin, feel the color of your blood, and how can you paint with so much information in mind at a time?
Extremely, Antoni raised questions about 3D.
When Hetty took her seat off for a moment.
Antoni, confused by the meaning of the shape as to why there were so many irregularities, applied his hand to redraw the irregularities to a round surface, and his nose was about to disappear.
I panicked to make it stop, but part of it, the 3D was already crushed.
"Mr. Antoni, your question is not wrong, but it is not a good idea to apply your hand without the real thing"
"... That's right. I don't think it's going to be so hard to draw 3D."
Sighing Antoni was clearly disappointed in his art.
It doesn't have to be 3D. In Fauvism, 3D is not so demanding.
When I said that to him, Antoni was surprised.
"What do you mean?"
"Be bold and draw in rough colors. I thought trying to force the nuances of the shadows would fail."
"... but"
"The 3D feel of the way you draw is perfect. If you had captured 3D correctly in your brain, you would have definitely made the perfect picture.... That's why. I'm sorry."
"…"
Restarted with dismay.
Antoni's brush was fast. Instead of saying it was fast, the paintings were just born one after the other because I couldn't help but want to draw them.
On the other hand, there were few finished pieces. On the way, I instructed Antoni to try and make a mistake, because most of the time he was left alone.
The redrawn painting was even less 3D. Color was used boldly instead.
It was also from this time on that reds began to mix up in the shadows or mysterious lines (possibly veins) began to creep in blue.
"The painting is dead..."
Miss Beriessa, who hadn't seen Antoni's painting in a long time, shrugged so.
Antoni is currently making paintings here every other week, making clay finishes and the like over there (in the atelier of the Count's mansion) and repeating. In relation to the meeting, the Count has carried Antoni's painting several times to show it, but I have not shown it to Miss Beliessa.
It was the first story she had wanted to see in a long time, because it was impossible.
Nevertheless.
It was a lying leopard weird to find out where my tent was and laugh lightly, "Eh heh, it's been a while since I've wanted to see Antoni's painting".
Miss Beliessa was looking at the painting in her hand. Perth went mad, draining the 3D nature of 3D, and all that remained was a childish painting that he wanted to flatten.
She said she was dead. I thought the expression was odd to say.
"Yes. I've been dead since the beginning. When I painted those pieces, Mr. Antoni was clearly dead."
"... was dead from the beginning"
"Now, I'm breathing my life into the painting. By the horror of it, too."
"... life"
At the end of the gaze of the dreaded inquiring courtier Beriessa was Antoni, who, even though it was noon, burned fire outside and stared at it.
I'm staring at the flames.
It paints a flame with no shape like crazy.
Draw, draw, draw again, at his disposal three parallel paintings of three flames: morning to day flames, evening flames, and night flames.
Antoni, who draws a flame shortly after he rests, has been attached to something.
I could tell Beliessa was breathing. It was full of emotions that I didn't want to see, but it was too beautiful.
"Mr. Antoni"
"Later, please."
"No, Mr. Antoni. I see Countess Albert."
"... Countess... Oh, oh! Whoa, whoa, this is it."
"... What, ah, ah! Antoni..."
Antoni, finally realizing, hurriedly turned his face over here and corrected his posture.
Beriessa, who was unexpectedly seen in the painting, similarly hurries to face Antoni.
Antoni's face was long overdue.
Antoni's eyes fell as if he were now pouring a certain life into this painting of flames, but in exchange Antoni dwelt in his eyes a glimmer of ambition that had never been seen before.
In a way, I guess he's alive.
Because Antoni, who lived like a dead man, became so vigorous.
"Long time no see, Countess. It seems to me that you are doing more and more. Thank you for your time."
"Fine, Antoni.... What's wrong with you?
What's the matter, I think you mean the painting.
The roughness, the simplicity, and the boldness of the color scheme that has never seemed like him, and the freedom of color that I'm just saying I used it because it's the color I want.
There should be no orange, red, or yellow in the flames, and no green or blue. But Antoni's painting has it.
The flames are alive.
Until now Antoni's life in a photograph that even feels his breath delicately drawn with a graceful curve had been transformed into a life that feels blood adorned with a fierce sense of dynamism and intense colour.
Antoni's painting has changed.
"What's wrong with this jizzy guy, huh? As a matter of fact, you may have noticed."
"I noticed...?
"Sadly, I love you both for drawing as you see it and as you wish."
Crystal blue, clear colors glimpsed the edge of the flame.
It was horrible.
The colour of the cold system gave it a sense of freshness and disease, and the colour of the glassy (transparent paint), which was just thin enough to transmit light, had made the flame look colorful.
Yellow was rooting from the center of the fire and letting the blood go through to the pictorial ends of the flames, as it reminded the blood of life.
Red hurts my eyes by the time it's nasty. It insists so strongly that it is a flame. And the flaming red was so vivid as a flower, so vivid that the back was impervious and invisible.
The colour of the flame, which is worn sparsely like a stained glass, with green transparency, blue transparency, is not so when asked if it offers a classy but trapped astringency.
Blue and green transparency, intense vivid red enough to swallow it, and yellow enough to think life was passing through, were expressions of a raging flame swing.
"... this is..."
It's a flame.
……
Seeing Miss Beliessa's reaction, I was convinced. The next exposition will definitely be a success.
And I was convinced of another.
"Sadly......?
Antoni was smiling as she mocked herself, at the end of Beliessa's gaze whining. Antoni was being done because he was so distressed that he was torn apart by the depth of his love for art and his thirst for things he couldn't get.